tag:blogger.com,1999:blog-6069384433292415972024-03-05T21:40:24.758-05:00LOOP GALLERYPostings about art happenings at Loop Gallery and around town!Anonymoushttp://www.blogger.com/profile/00681166775203172030noreply@blogger.comBlogger399125tag:blogger.com,1999:blog-606938443329241597.post-72570232202186569142016-05-20T11:01:00.000-04:002016-11-20T11:48:14.159-05:00Zoology Paintings by David Holt at Loop, May 21 - June 12, 2016<h2>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="color: red;"><span style="font-size: small;"><i>ZOOLOGY</i> PAINTINGS BY DAVID HOLT AT LOOP,<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span>MAY 21 - JUNE 12, 2016</span></span></b></span><i> </i></span></h2>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i><span style="color: red;"><b><span style="font-size: small;">Sources and <span style="font-family: "arial" , "helvetica" , sans-serif;">Inspirations</span></span></b></span> </i></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">David Holt, Monkeys, 26"x28", acrylic/linen, 2016</span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The paintings in <i>Zoology</i>
are part of a continuing series of works inspired by natural history museum
displays and illustrated atlases. The grid-like arrangements, which echo the
arrangements of specimens in display cabinets and on atlas pages, provide
compositional scaffolding for playful variations and comparisons of animal
forms. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">My interest is not in the genre of “wildlife illustration”
as it is often practiced but rather in the history of our thinking about
animals<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, the ways <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">in which we depict them, </span></span>and the ways in which we mentally visualize them in our memories and
imaginations. I am especially interested in children’s depictions of animals. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Child's animal drawing from the <a href="http://www.early-pictures.ch/kellogg/en/" target="_blank">Rhoda Kellogg Child Art Collection</a></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Wang Yani <a href="https://www.youtube.com/watch?v=bVxk7b9HigM" target="_blank">painting monkeys</a></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I also like </span></span><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">works in which the arti<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">st<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">s </span></span>try to express the characters or personalities they <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">imagine the animals</span> to have. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Jean Dubuffet, <i>Angry Cat,</i>1953<i> ,</i> MoMA</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;">Sengai Gibon (1750-1837),</span><i><span style="font-size: xx-small;"> Tiger</span></i></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Silvio Loffredo (1920-2013), <i>Gatti<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, </span></i>(Loffredo was my professor at the Accademia di Belle Arti in Florence)</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">David Holt, <i>Cats</i>, acrylic/linen, 12"x12", 2016</span></span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Early examples of animal descriptions and taxonomies include Aristotle's <a href="http://classics.mit.edu/Aristotle/history_anim.html" target="_blank"><i>History of the Animals</i> </a>and Pliny the Elder's <a href="http://www.perseus.tufts.edu/hopper/text?doc=Plin.+Nat.+toc" target="_blank"><i>Natural History</i></a>. Visual depictions of types of animals can be found in Roman paintings and especially mosaics</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Roman mosaic from Lod, Israel. (More Lod images at this <a href="http://www.metmuseum.org/blogs/now-at-the-met/features/2010/the-roman-mosaic-from-lod-israel" target="_blank">Metropolitan Museum of Art site</a>.)</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Roman mosaic, Palazzo Massimo, Rome</span></span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Later, in the east, <span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Zakarīyā ibn Muhammad
al-Qazwīnī (circa 1203–83) wrote the widely copied<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> and </span>translated </span><a href="https://www.wdl.org/en/item/10606/" target="_blank"><i>Wonders of Creation</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">,<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span></span></span></a></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">which included a<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span>cata<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">log<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> of real and <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">imagined creatures.</span></span></span></span> </span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS_s2_5W7FIbkCXAo5ciB1nthbkU57ncmU2Zzpm_YCMn3523PhlWrwA0Sf3jNoSWrlnG8B_eZMVm_qd6Eo3H0On0L8BAJgH-9qIiN7GeZoLksS7hlBpZEiG24YceHAJi_GQ4qaD5WIrGDM/s1600/12809744_10154070734545337_1900616185184095150_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS_s2_5W7FIbkCXAo5ciB1nthbkU57ncmU2Zzpm_YCMn3523PhlWrwA0Sf3jNoSWrlnG8B_eZMVm_qd6Eo3H0On0L8BAJgH-9qIiN7GeZoLksS7hlBpZEiG24YceHAJi_GQ4qaD5WIrGDM/s640/12809744_10154070734545337_1900616185184095150_n.jpg" width="372" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Manuscript page from <i>The Wonders of Creation</i></span></span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;">Such early examples inspired my handling of the subject of fish. </span></div>
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<tr><td style="text-align: center;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxyU4ouXUKcgrFq2OFXSoq7pJCQz03rQhFfpZr3CHK3Hy8e-McBHtWOHeKhMCJ4W6nO6rr6TypYnvRBnRBijqOkRJIt3gz5pcUVdQr-xXoW1ukH9Ap26vaB3NpCn97Or7XMLhBPzhU77zd/s320/yellowfish-72.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">David Holt, <i>Fish (<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">y</span>ellow)</i>, acrylic/linen, 11"x11", 2016</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9bDOFchOrVBHCAOO2aKebaUjg2PAnUIlpXEotL1WJ_ho5f4XyMzKDK1wnJOeV7_0TH7j7YpjGVKXBkpYAUyQnfBz2mWLYDFZkIBjw_b4pDg-YqalYV6lxYrZzjBiYD5cu7WFUJdjRhpcA/s1600/darkfish-72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9bDOFchOrVBHCAOO2aKebaUjg2PAnUIlpXEotL1WJ_ho5f4XyMzKDK1wnJOeV7_0TH7j7YpjGVKXBkpYAUyQnfBz2mWLYDFZkIBjw_b4pDg-YqalYV6lxYrZzjBiYD5cu7WFUJdjRhpcA/s320/darkfish-72.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">David Holt, <i>Fish</i>, acrylic/canvas, 11"x14", 2016</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">European medieval bestiary manuscripts featured
both <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">actual </span>and <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">fanciful</span> </span></span><span style="font-size: small; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">animals in order to list and describe them </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">an<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">d</span></span> also</span> to convey
allegorical religious and moral messages. (The <a href="http://bestiary.ca/index.html" target="_blank"><i>Medieval Bestiary</i> </a>is a useful online resource for images and information.) </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNkQSl84_aAQD0ggLmI0ybHxJ-On8VI4KGCPIL7zEBUO0uc_OtTz1vi1PcVfwmHWuknM3vQoYcqPnYlbFM-Ul5nmmYXVC7xUC3zJHlsKHzwUOKwH-mUN4_m6IHWvpTtPvyyxJsn_5nZQyi/s1600/05a-mole-Kongelige+Bibliotek%252C+Gl.+kgl.+S.+1633+4%25C2%25BA%252C+Folio+29r+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNkQSl84_aAQD0ggLmI0ybHxJ-On8VI4KGCPIL7zEBUO0uc_OtTz1vi1PcVfwmHWuknM3vQoYcqPnYlbFM-Ul5nmmYXVC7xUC3zJHlsKHzwUOKwH-mUN4_m6IHWvpTtPvyyxJsn_5nZQyi/s400/05a-mole-Kongelige+Bibliotek%252C+Gl.+kgl.+S.+1633+4%25C2%25BA%252C+Folio+29r+.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>Mole</i>, from a manuscript in the Danish Kongelige Bibliotek, Gl. kgl. S. 1633 4º, Folio 9r</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2MC3-WFE3ZtbNccN6dl_zsxThHXsw9WBfvphi8aAmGNXM47tu8Ilc-c6jwxdpE3FsYgJr1yfV3P0M8WUBMHbKBVAwdR-K_zG-fFs8-o13mouybgXZnf4Qbv68uWeG9ttf5Es4TiBHKvw6/s1600/05-ibex-Kongelige+Bibliotek%252C+Gl.+kgl.+S.+1633+4%25C2%25BA%252C+Folio+9r+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2MC3-WFE3ZtbNccN6dl_zsxThHXsw9WBfvphi8aAmGNXM47tu8Ilc-c6jwxdpE3FsYgJr1yfV3P0M8WUBMHbKBVAwdR-K_zG-fFs8-o13mouybgXZnf4Qbv68uWeG9ttf5Es4TiBHKvw6/s320/05-ibex-Kongelige+Bibliotek%252C+Gl.+kgl.+S.+1633+4%25C2%25BA%252C+Folio+9r+.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>Ibex</i>, from a manuscript in the Danish Kongelige Bibliotek, Gl. kgl. S. 1633 4º, Folio 9r</span>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Aesop's </span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">(ca. 620-564 BCE) <i>Fables</i> or <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">the</span> <i>Aesopica</i> had an even earlier history of animal subjects and <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">narratives</span> employed for moral instruction. Illustrated manuscript and printed versions of the fables continued to be produced during the early modern era.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbLbM5JvTqEM1ouvGJc1TVH4CnEB0MhhpnhyNRHhAWVwG0i9PTiEr3_oJYOoFfQDgP02urfz9mlAku_ahh_EMbY94rdaQG4O-9CdZCSAkOznRNaAhk25up5ZvLTwVHqZ4Y7lIkgqARdaKm/s1600/Medici_snake%2526crab.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbLbM5JvTqEM1ouvGJc1TVH4CnEB0MhhpnhyNRHhAWVwG0i9PTiEr3_oJYOoFfQDgP02urfz9mlAku_ahh_EMbY94rdaQG4O-9CdZCSAkOznRNaAhk25up5ZvLTwVHqZ4Y7lIkgqARdaKm/s400/Medici_snake%2526crab.jpg" width="347" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i> </i>Page from the </span></span><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>Fable of the Snake and the Crab, </i></span></span>Medici Aesop, 15th c., Spencer 50, Spencer Collection, New York Public Library</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrdMZSsSXBqBpmlxJTW7xHNuwOnrf0hd0JnSH0BtbuSTrtbZs9afViwjKc9o-UhQsgCTPt5R2aomJEHgwcCuCJD0wTLDZC-3Ai0RFGPG8UUDI2WO0j0R2rWaRVky6Fv4pJOHXA-B85w6Kr/s1600/6a00d8341c464853ef01a73d949def970d-800wi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrdMZSsSXBqBpmlxJTW7xHNuwOnrf0hd0JnSH0BtbuSTrtbZs9afViwjKc9o-UhQsgCTPt5R2aomJEHgwcCuCJD0wTLDZC-3Ai0RFGPG8UUDI2WO0j0R2rWaRVky6Fv4pJOHXA-B85w6Kr/s1600/6a00d8341c464853ef01a73d949def970d-800wi.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>Revenge on the old lion</i> from a printed Augsburg version, ca. 1480, British Library, (<a href="http://daten.digitale-sammlungen.de/~db/0002/bsb00024916/images/" target="_blank">online facsimile from a copy in the Bavarian State Library available here</a>)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: xx-small;">E</span>arly printed books and atlases facilitated the spread of
knowledge about animals. Collectors displayed live specimens in private menageries and preserved ones (along with other curiosities) in <i>wunderkammer</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Such</span> menageries and cur<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">io<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">sity</span> cabinets </span></span>were the forerunners to today’s
zoos and natural history museums.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixH-sSz2hMjIvV8wreS4BBYW-_Y4I62gxQZQJzKcsMNCPznQUh8_pcRF2xJqaGmW3inPhRxWZRZYwH2H9uZP409cffPDJUcAPf69sXVG4Q57gtEzHk1sNxNd0a-3O16dlMX8Ogtbl7eYLq/s1600/02-wpid-Photo-Jul-22-2013-547-AM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="489" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixH-sSz2hMjIvV8wreS4BBYW-_Y4I62gxQZQJzKcsMNCPznQUh8_pcRF2xJqaGmW3inPhRxWZRZYwH2H9uZP409cffPDJUcAPf69sXVG4Q57gtEzHk1sNxNd0a-3O16dlMX8Ogtbl7eYLq/s640/02-wpid-Photo-Jul-22-2013-547-AM.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Engraving from Ferrante Imperato's <i>Dell'Historia Naturale</i> (Naples 1599) </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsC9RxmPdbSaARjmvKwA-ErPLnsdjsnWR6lDK5Kis9ltokIYYvpBPDJtLShg7eYW0GhyhUK_imj4YJIc4c4f0f2Xbaa5I9N7inF4gIyBgrH9STSMNYH3sjLv_Wv-XSEOAlUxbosvH27r4h/s1600/Versailles_M2-589x370.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="401" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsC9RxmPdbSaARjmvKwA-ErPLnsdjsnWR6lDK5Kis9ltokIYYvpBPDJtLShg7eYW0GhyhUK_imj4YJIc4c4f0f2Xbaa5I9N7inF4gIyBgrH9STSMNYH3sjLv_Wv-XSEOAlUxbosvH27r4h/s640/Versailles_M2-589x370.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">La M</span></span></i><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>énagerie</i> at Versailles, begun 1663. <a href="https://www.youtube.com/watch?v=c6vgyJshXp8" target="_blank">(<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Here is a s</span>hort official video reconstruction and history.)</a></span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Some important early modern and modern examples of illustrated texts have included Conrad Gesner's <a href="https://ceb.nlm.nih.gov/proj/ttp/Gesnergallery.htm" target="_blank"><i>Historiae Animalium</i></a> (1551-58); Carl Linneaus' <a href="http://www.linnaeus.uu.se/online/index-en.html" target="_blank"><i>Systema Naturae</i></a> (1735); George-Louis Leclerc, Compte de Buffon's <a href="https://archive.org/details/buffonsnaturalhi02buff" target="_blank"><i>Histoire Naturelle</i></a> (1749-88); Oliver Goldsmith's <a href="https://archive.org/details/ahistoryearthan02goldgoog" target="_blank"><i>A History of the Earth and Animated Nature</i> </a>(1824); and Alfred Edmund Brehm's <a href="https://archive.org/details/brehmslifeofanim00breh" target="_blank"><i>Life of Animals</i></a> (1895).</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCB-kKTddHev8yp8WG8gcaVLtDSiMIVywxH1ImBnhcXZYNVN3PJ7uwd0Xme75_D_IeUzHiXOC_uxWL3MgKcPVUHV3h49GWv3hPREoVP-0sI6hp0Ny6hKHRtzrpKoobmfeFbviBuTzU3ZS1/s1600/buffon-dogs-.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCB-kKTddHev8yp8WG8gcaVLtDSiMIVywxH1ImBnhcXZYNVN3PJ7uwd0Xme75_D_IeUzHiXOC_uxWL3MgKcPVUHV3h49GWv3hPREoVP-0sI6hp0Ny6hKHRtzrpKoobmfeFbviBuTzU3ZS1/s400/buffon-dogs-.jpg" width="223" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Page from Buffon's <i>Histoire Naturelle</i></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVM9El3ybMMFHpoXQNZhehRnG1rcf5x_02OFKmYI-ahf_o_b97RRMl0D_4P4Rsax7Hsyd2AklYndQ83JrKMv5s6aB6sYSZM3W0cwZVR3xX4xbbcSohpTwWZhDX5gmptVd32WoBChk199BE/s1600/threedogs-web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVM9El3ybMMFHpoXQNZhehRnG1rcf5x_02OFKmYI-ahf_o_b97RRMl0D_4P4Rsax7Hsyd2AklYndQ83JrKMv5s6aB6sYSZM3W0cwZVR3xX4xbbcSohpTwWZhDX5gmptVd32WoBChk199BE/s400/threedogs-web.jpg" width="175" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Holt, <i>Three Dogs</i>, acrylic/canvas, 6"x8" each, 2016</td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Our human similarities with animals, especially primates, have long been a subject of intense interest. Linneaus drew close connections between humans and other primates by placing them in the same category of <i>Anthropomorpha</i> in his early volumes of the <i>Systema Naturae</i>. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgHJ1-JWPwWOFb8Sq0bGw-vAPhIexxUfPGiGW7WOs9Isp0DCLxKAX4rJjJ9-PSdgnX2_-xAX8BmqQiYa_Tdy3VqRnijilgoHIFuj4f4qrYQ93_64dk56ov1Pe1da74hjJpd3InjwnQ8OM/s1600/1280px-Hoppius_Anthropomorpha.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgHJ1-JWPwWOFb8Sq0bGw-vAPhIexxUfPGiGW7WOs9Isp0DCLxKAX4rJjJ9-PSdgnX2_-xAX8BmqQiYa_Tdy3VqRnijilgoHIFuj4f4qrYQ93_64dk56ov1Pe1da74hjJpd3InjwnQ8OM/s640/1280px-Hoppius_Anthropomorpha.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Christian Emmanuel Hoppius: <i>Anthropomorpha</i>. In: <i>Amoenitates Academicae</i>. Band 6, Stockholm, 1763</span></span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Of course Darwin continued to explore such connections not only in terms of taxonomy and evolution but also in terms of behaviour and emotional expression in <i><a href="https://archive.org/details/expressionofemot1872darw" target="_blank">The Expression of Emotion in Man and Animals</a></i> (1872).</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrR0xhgJs95oxIMexwKUma8TrW1ATBX1UFiAcSEg_pitUu0k2LCqmNVBMJvgzSYMqU1_kgHtJ9Z2eKW0puNTBbjK1WUxcZcjo2dlbKKZbyUfGah5qN43UtLD3gdN7ERQcR_7paOq4AsrU/s1600/darwin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrR0xhgJs95oxIMexwKUma8TrW1ATBX1UFiAcSEg_pitUu0k2LCqmNVBMJvgzSYMqU1_kgHtJ9Z2eKW0puNTBbjK1WUxcZcjo2dlbKKZbyUfGah5qN43UtLD3gdN7ERQcR_7paOq4AsrU/s640/darwin.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Page from Darwin's <a href="https://archive.org/details/expressionofemot1872darw" target="_blank"><i>Expression of Emotion in Man and Animals</i></a></span></span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I have found it both interesting and challenging to try to convey a sense of emotion, character, and even personality in primate facial expressions. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqMiYahkmYQe2A3j3Hsq7tksClj58N6N6cswVBXSXzFpJJ7-SduROcGp7Cc1lxNoDGpUZJHCLE4ZRWqB2alzRp_46_wQsN2K1ve9hbxK8ureu1bKdU_CyoupOfR77HQp0kXi5SSBmvsDq/s1600/baboonheads1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqMiYahkmYQe2A3j3Hsq7tksClj58N6N6cswVBXSXzFpJJ7-SduROcGp7Cc1lxNoDGpUZJHCLE4ZRWqB2alzRp_46_wQsN2K1ve9hbxK8ureu1bKdU_CyoupOfR77HQp0kXi5SSBmvsDq/s400/baboonheads1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">David Holt, <i>Baboon sketchbook page</i>, pen/ink, 6"x4", 2015</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqdGrGwopXCf0ZwsV8n4ySe2B5hPZGkJ_wqF0Y-8CV4Z8N8gxiaMt5gJctEvTGeRc-oHPX8t78cYkTAGVfZIyXEzGzfumpPm83nTYkSJeL4GIOSVk52z_XU5ZND95ukxSbsnvo687D04Fe/s1600/baboonheads2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqdGrGwopXCf0ZwsV8n4ySe2B5hPZGkJ_wqF0Y-8CV4Z8N8gxiaMt5gJctEvTGeRc-oHPX8t78cYkTAGVfZIyXEzGzfumpPm83nTYkSJeL4GIOSVk52z_XU5ZND95ukxSbsnvo687D04Fe/s400/baboonheads2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">David Holt, <i>Baboon sketchbook page</i>, pen/ink, 6"x4", 2015</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLiMSQcno-PDH4cCwf_2tFQ9Nvl8dA3nuP4Q1CkyG3U7shl9cT-m4GvHbjtQHkQ9F1AyFLBDA0dubJaRnGvPUodTauTNgjhwGadI98srQlHQ7GOOMtwqdcJiBhSgqwkUuFx0rfEEWFbz-P/s1600/baboonheads-72.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLiMSQcno-PDH4cCwf_2tFQ9Nvl8dA3nuP4Q1CkyG3U7shl9cT-m4GvHbjtQHkQ9F1AyFLBDA0dubJaRnGvPUodTauTNgjhwGadI98srQlHQ7GOOMtwqdcJiBhSgqwkUuFx0rfEEWFbz-P/s400/baboonheads-72.jpg" width="371" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">David Holt, <i>Baboon Heads</i>, acrylic/linen, 24"x22", 2016</span></span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">John Ber<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ger, in his essay <i>Why Look at Animals?<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span></i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">from his</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><i>About Looking</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span>(1980)<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">,</span></span></span></span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> notes that o</span>ver time our connections with animals have become less <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">meani<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ng<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ful</span></span></span> since <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">most of us <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">do not<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span>work with them <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">d<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ai<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">l<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">y on farms or <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">other settin<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">gs </span></span>nor do we raise or hunt them for food</span></span></span></span></span></span>. <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Merely</span> h</span>aving pets <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">or seeing <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">anim<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">als</span></span> in zoos </span>creates relationships <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">with animals that can be <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">problematic</span>. </span>Others <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">such as </span></span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.yerkes.emory.edu/research/divisions/developmental_cognitive_neuroscience/dewaal_frans.html" target="_blank">Fran<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">s</span> De Waal</a> and </span></span></span></span></span></span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://ngm.nationalgeographic.com/gombe-hub" target="_blank">Jane Goodall</a> </span></span></span></span></span></span></span>have thought<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">fully </span>explored animal<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> (</span>especially primate<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">) </span></span>intelligence and th<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">eir </span>comple<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">x </span>social relationships<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, while still others such as <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://en.wikipedia.org/wiki/Robert_Sapolsky" target="_blank">Robert Sapolsky</a> have writt<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">en </span></span>a<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">bout <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">our human ph<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ysiological </span></span>sim<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">i<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">lar<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ities <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">with anim<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">al<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>s</i> that we ignore <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">to our detriment.</span><i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span></i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.petersinger.info/" target="_blank">Peter Singer </a>has also <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">explored <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">our <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">close resemblances with o<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ther animal specie<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">s, rais<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ing</span> serious questions about ethics and anim<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">al rights. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span> </span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9rnnoNOYgR2XCKSbxbzRM7nA808gehreClH9_C86OSL9KxkLmVj8s7V1m7jknGLa706VztlIyUEIUdKKH37K93l2aJxnifYYhnnj3fZzHRM7aknS99rc9zPk0MsNyOfGHWB0JYSMUg6xG/s1600/twobirds-72.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9rnnoNOYgR2XCKSbxbzRM7nA808gehreClH9_C86OSL9KxkLmVj8s7V1m7jknGLa706VztlIyUEIUdKKH37K93l2aJxnifYYhnnj3fZzHRM7aknS99rc9zPk0MsNyOfGHWB0JYSMUg6xG/s400/twobirds-72.jpg" width="241" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">David Holt, <i>Birds,</i> acrylic/wood, approx. 6"x6" and 4" x 6", 2016</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">More <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">of my </span>paintings of animals and <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">other subjects </span>can be found on my website at <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://sites.google.com/site/davidholtpaintings/"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span>https://sites.google.com/site/davidholtpaintings/</span></a></span></span></span></span> </span></span></span><br />
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David J. Holthttp://www.blogger.com/profile/03997675678551751984noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-48364019379552624242016-04-16T14:28:00.001-04:002016-04-16T14:28:50.050-04:00Do Not Miss New Work by loop Artists Carolyn Dinsmore and Sung Ja Kim-Chisholm<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWhxf1vNRRjsqWKYNmJyOC9SFKsDzlQOFNeHXiL1KrsnFZC5-wN4we2j7otYK_k4KrLjaqf8hnoorMMjrEx50s9i32FuUf-P0NiifTMW0J2hT_TvHMXUdPBMIkAfdpUrD1uVM7cWpDM5UU/s1600/300dpi+Street+Life+8%252C+mixed-media+on+wood%252C+48_x+30_%252C+2016++copy_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWhxf1vNRRjsqWKYNmJyOC9SFKsDzlQOFNeHXiL1KrsnFZC5-wN4we2j7otYK_k4KrLjaqf8hnoorMMjrEx50s9i32FuUf-P0NiifTMW0J2hT_TvHMXUdPBMIkAfdpUrD1uVM7cWpDM5UU/s320/300dpi+Street+Life+8%252C+mixed-media+on+wood%252C+48_x+30_%252C+2016++copy_1.jpg" width="198" /></a></div>
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<b style="-webkit-text-stroke-width: initial;"><span style="font-size: x-large;">Carolyn Dinsmore</span></b></div>
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<span style="-webkit-font-kerning: none;"><b><i><span style="font-size: large;">Surface – A Collection, part 2</span></i></b></span></div>
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<span style="font-kerning: none;"><span style="-webkit-font-kerning: none;"><b>April 23</b></span><span style="-webkit-font-kerning: none; line-height: normal;"><b><sup>rd</sup></b></span><span style="-webkit-font-kerning: none;"><b> – May 15</b></span><span style="-webkit-font-kerning: none; line-height: normal;"><b><sup>th</sup></b></span><span style="-webkit-font-kerning: none;"><b> 2016</b></span></span></div>
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<span style="font-kerning: none;"><span style="-webkit-font-kerning: none;"><b>Reception: Saturday, April 23</b></span><span style="-webkit-font-kerning: none; line-height: normal;"><b><sup>rd</sup></b></span><span style="-webkit-font-kerning: none;"><b>, 2-5PM</b></span></span></div>
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<b style="-webkit-text-stroke-width: initial; text-indent: 7.1px;"><i>loop</i></b><span style="-webkit-text-stroke-width: initial; text-indent: 7.1px;"> Gallery is pleased to announce </span><i style="-webkit-text-stroke-width: initial; text-indent: 7.1px;">Surface - A Collection, part 2,</i><span style="-webkit-text-stroke-width: initial; text-indent: 7.1px;"> a new exhibition by </span><b style="-webkit-text-stroke-width: initial; text-indent: 7.1px;">Carolyn Dinsmore</b></div>
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<b style="-webkit-text-stroke-width: initial;">Carolyn Dinsmore’s</b><span style="-webkit-text-stroke-width: initial;"> paintings of roads and rocks are cropped landscapes (urban and rural) that</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">zoom in and focus on surface pattern and texture. Collecting photos, litter, stones, etc. during</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">everyday travels through familiar surroundings help in reconstructing images - evidence of</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">everyday use and natural erosion. Weathered layers express the opposing dynamic of building up</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">and wearing away.</span><span style="-webkit-text-stroke-width: initial;"> </span></div>
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<span style="-webkit-text-stroke-width: initial;">The composite, quilt-like paintings are inspired by African cloths (made by the people of the</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">Congolese Kuba tribe) on which were appliquéd motifs representing an interpretation of</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">their </span><span style="-webkit-text-stroke-width: initial;">physical surroundings. The cloths, made up of panels sewn together, are wrapped around</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">the body and worn as ceremonial dance skirts. New appliqués were added as patches to mend</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">worn out areas.</span><span style="-webkit-text-stroke-width: initial;"> </span></div>
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<b style="-webkit-text-stroke-width: initial;">Carolyn</b><span style="-webkit-text-stroke-width: initial;"> studied art history at Queen’s University and the University of Toronto and taught art at the high school level. She left teaching to open a shop that specialized in decorative textiles from</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-font-kerning: none; -webkit-text-stroke-width: initial;">India, Africa, and Indonesia. For the first incarnation of the shop, <b>Carolyn</b> made her own hand-</span><span style="font-family: "helvetica"; line-height: normal;"> </span><span style="-webkit-text-stroke-width: initial;">woven textiles – wall hangings, rugs and cushions. After retiring from the retail business, she got</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">back into her art practice by attending the adult art program at Central Technical School. The</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">resulting paintings seem to be a sub-conscious response to texture and pattern, coming from a</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">close connection with textiles for so many years - chunks of rock and road from the surrounding</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">landscape like swatches cut from bolts of fabric.</span><span style="-webkit-text-stroke-width: initial;"> </span></div>
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<span style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; font-size: 11px; text-align: justify;">Image: </span><i style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; font-size: 11px; text-align: justify;">Street Life 8</i><span style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; font-size: 11px; text-align: justify;">, mixed-media on wood, 48"x 30", 2016</span></div>
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<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-size: 11px; text-align: justify;"><i>loop</i> Thanks : AUDAXlaw Sumac.com</b></div>
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<b style="-webkit-text-stroke-width: initial;"><span style="font-size: x-large;">Sung Ja Kim-Chisholm</span></b></div>
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<span style="-webkit-font-kerning: none;"><b><i><span style="font-size: large;">Pages from Life’s Journey</span></i></b></span></div>
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<span style="-webkit-font-kerning: none;"><b>April 23</b></span><span style="-webkit-font-kerning: none; line-height: normal;"><b><sup>rd</sup></b></span><span style="-webkit-font-kerning: none;"><b> – May 15</b></span><span style="-webkit-font-kerning: none; line-height: normal;"><b><sup>th</sup></b></span><span style="-webkit-font-kerning: none;"><b> 2016</b></span></div>
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<span style="-webkit-font-kerning: none;"><b>Reception: Saturday, April 23</b></span><span style="-webkit-font-kerning: none; line-height: normal;"><b><sup>rd</sup></b></span><span style="-webkit-font-kerning: none;"><b>, 2-5PM</b></span></div>
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<b style="-webkit-text-stroke-width: initial; text-indent: 7.1px;"><i>loop</i></b><span style="-webkit-text-stroke-width: initial; text-indent: 7.1px;"> Gallery is pleased to announce </span><i style="-webkit-text-stroke-width: initial; text-indent: 7.1px;">Pages from Life’s Journey,</i><span style="-webkit-text-stroke-width: initial; text-indent: 7.1px;"> a new exhibition by </span><b style="-webkit-text-stroke-width: initial; text-indent: 7.1px;">Sung Ja Kim-Chisholm. </b></div>
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<span style="-webkit-text-stroke-width: initial; text-align: justify;">The pieces that comprise </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">Kim-Chisholm's</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> latest exhibition symbolically communicate the vital significance of the pages that make up the books of our lives.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">Our memories, experiences, hopes, joys and disappointments are each symbolized by a page or a coil in the unfolding of our individual life journeys.</span></div>
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<span style="-webkit-text-stroke-width: initial; text-align: justify;">The works are made with white fabric saturated with white plaster.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">The fabric symbolizes how our memories and experiences are tightly woven together within the events of each of our lives, while the central importance of the colour white, through its reflection of most of the wavelengths of visible light symbolizes how our memories, experiences, hopes, joys and disappointments are reflected in our lives.</span></div>
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<b style="-webkit-text-stroke-width: initial; text-align: justify;">Kim-Chisholm</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> is a Toronto artist and art educator, who has been a longstanding member of Loop.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">She has participated in many group and solo exhibitions in both South Korea and Canada and has also been retained for many private commissions in both Asia and in North America.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">She graduated from Chu-Gye University for the Arts in Korea and the Ontario College of Art & Design University.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">Her work can be found in numerous private collections.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span></div>
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<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; text-align: justify;"><i>loop</i> Thanks : AUDAXlaw Sumac.com</b></div>
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-83543948825889938682016-03-22T14:38:00.003-04:002016-03-22T14:38:49.070-04:00Don't Miss New Works by loop Artists Elizabeth D'Agostino and Kipjones<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 20px; line-height: normal; text-align: justify;">
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPI9nQPOgYbEx_kx5no0w2kHglm-fuCoblZ4yXMfWtZzeR5velYXMGoCgTVL2tq2RGI67lrX92bBKY88w_Co4rbXC3YVTZHBkL-L-6ezN1Om0DG8VNvqBMaj2WIcb48np9lwsYX8n21bgW/s1600/Makeshift+I.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPI9nQPOgYbEx_kx5no0w2kHglm-fuCoblZ4yXMfWtZzeR5velYXMGoCgTVL2tq2RGI67lrX92bBKY88w_Co4rbXC3YVTZHBkL-L-6ezN1Om0DG8VNvqBMaj2WIcb48np9lwsYX8n21bgW/s320/Makeshift+I.jpg" width="320" /></a></b></div>
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<b style="-webkit-text-stroke-color: rgb(0, 0, 0); color: black;"><span style="font-size: large;">Elizabeth D’Agostino</span></b></div>
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<b><i><span style="font-size: large;">Makeshift</span></i></b></div>
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<b>March 26</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b> – April 17</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b>, 2016 </b></div>
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<b>Reception: Saturday, April 2</b><span style="line-height: normal;"><b><sup>nd</sup></b></span><b>, 2-5 p.m.</b></div>
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<b style="-webkit-text-stroke-width: initial; text-align: center;"><i>loop</i></b><span style="-webkit-text-stroke-width: initial; text-align: center;"> Gallery is pleased to announce </span><i style="-webkit-text-stroke-width: initial; text-align: center;">Makeshift, </i><span style="-webkit-text-stroke-width: initial; text-align: center;">a new exhibition by </span><b style="-webkit-text-stroke-width: initial; text-align: center;">Elizabeth D’Agostino.</b></div>
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<b style="-webkit-text-stroke-width: initial; text-align: justify;">D’Agostino</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> has spent the last few years building fictitious environments merging elements both real and imagined. As a child, she curiously watched her father graft his backyard fruit trees. She would watch him carefully join sections from separate varieties of trees and as a result would produce an assortment of fruit from a single tree in an urban setting.</span><i style="-webkit-text-stroke-width: initial; text-align: justify;">Makeshift </i><span style="-webkit-text-stroke-width: initial; text-align: justify;">chronicles D’Agostino’s fascination with grafting and attempts to create a catalogue of re-organized components and fictional categories of nature with an invented narrative.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">D’Agostino</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> draws from biodiversity and the complexities of the changing landscape emphasizing how various paths of nature have been interrupted by rapidly producing populations.</span></div>
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<b style="-webkit-text-stroke-width: initial; text-align: justify;">D’Agostino</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> holds a BFA from the University of Windsor and an MFA from Southern Illinois University.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">Her work has been exhibited in Canada and internationally including The Kelowna Art Gallery, Iziko: Museum of Cape Town, South Africa, Manhattan Graphics Center, New York, and The Print Center, Philadelphia. </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">D'Agostino's</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> prints can also be found in many private and public collections including the University of Changchun Jilin, China; Anchor Graphics at Columbia College Chicago, Illinois, Department of Foreign Affairs Canada, and Ernst and Young, Canada. She was awarded an Honourable Mention in the 2014 National Open Studio Printmaking Awards, and was selected by the Department of Foreign Affairs, Trade and Development Canada to create a carpet design in the Ontario Room for the newly renovated Canada House in London, England.</span></div>
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<b style="-webkit-text-stroke-width: initial; text-align: justify; text-indent: 7.1px;">D’Agostino</b><span style="-webkit-text-stroke-width: initial; text-align: justify; text-indent: 7.1px;"> lives and works in Toronto and is currently the Managing Director of the Toronto School of Art. She is also a member of Open Studio </span><span style="-webkit-text-stroke-width: initial; text-align: justify; text-indent: 7.1px;"> </span><span style="text-align: justify;">Fine Art Printmaking Centre.</span></div>
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<span style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; text-align: justify; text-indent: 7.1px;">Image: </span><i style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; text-align: justify; text-indent: 7.1px;">Makeshift I-III, 2015. </i><span style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; text-align: justify; text-indent: 7.1px;">Collaged print, etching, monotype, silkscreen on Inshu Gampi tissue, and paper clay Gampi sculpture on floating wood shelf</span><i style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; text-align: justify; text-indent: 7.1px;">. </i></div>
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<span style="-webkit-text-stroke-color: rgb(127, 127, 127); color: #7f7f7f; text-align: justify;">Exhibition detail, Kelowna Art Gallery</span></div>
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<b><span style="font-size: large;">kipjones</span></b></div>
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<b>March 26</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b> – April 17</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b>, 2016 </b></div>
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<b>Reception: Saturday, April 2</b><span style="line-height: normal;"><b><sup>nd</sup></b></span><b>, 2-5 p.m.</b></div>
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<b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;"><i>loop</i></b><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;"> Gallery is pleased to announce </span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">Staged Standards, </i><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">a new exhibition by </span><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">kipjones.</b></div>
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<i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">Staged Standards</i><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;"> is a response to an ongoing study into architectural iconography as a sculptural gesture. The work consists of a series of materially aesthetic investigations of formally staged wooden fabrications and their echoed forms.</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">These austere scaled assemblies of an architectural vernacular address the notions of permanence and transformation as a reflective relationship between the elements. </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;"> </span></div>
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<span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">The latex rubber forms act as dualistic moments in an inter-connected relationship with their mirrored wooden original. Pragmatically this work utilizes the inherent properties of latex rubber, its skin like qualities and it structural integrity, as containers of forms and icons.</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">The hard surfaced reality occupies a antipodean position in relation to the soft skinned latex empty vessels, constituting a connective bridging of the organic and the man-made - the mind and body - nature and culture.</span></div>
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<b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">kipjones</b><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;"> is an active and experienced Toronto public artist, sculptor and instructor. His artistic research addresses the complex potentialities of space through site-specific installations, public art and object making. He graduated 2011 with an MFA: sculpture from Concordia University in Montreal. He has exhibited and participated in residencies nationally and internationally. His public art can be engaged with in Kelowna BC, Calgary AL, Moncton NB, and most recently </span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;">Gambrel Journey</i><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; text-align: justify;"> for the City of Markham Ontario.</span></div>
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<span style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; font-family: 'Arial Narrow'; text-align: justify;">Image: </span><i style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-family: 'Arial Narrow'; text-align: justify;">Staged Standard, </i><span style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-family: 'Arial Narrow'; text-align: justify;">2016.</span><i style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-family: 'Arial Narrow'; text-align: justify;"> </i><span style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-family: 'Arial Narrow'; text-align: justify;"> </span></div>
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<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-family: 'Arial Narrow'; text-align: justify;"><i>loop</i> Thanks : AUDAXlaw Sumac.com</b></div>
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-37938464136580240702016-03-18T12:18:00.002-04:002016-03-18T12:18:27.320-04:00Stephen Horne Reviews Mindy Yan Miller's Work, in the Latest Issue of 'Border Crossing'.<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Helvetica; line-height: normal;">
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<span style="font-size: large;">Stephen Horne traces some of <b>Mindy Yan Miller’s</b> earlier </span></div>
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<span style="font-size: large;">works up to the present time, in an excellent art review that is currently being featured in the latest issue of <b>Border Crossing. </b>You don’t want to miss this!</span></div>
Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-74517376830111798992016-03-12T22:15:00.000-05:002016-03-12T22:15:02.112-05:00Don't Miss New Works by loop Gallery Artists' Tara Cooper and Richard Sewell.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp7QzWIDYNg9CRBZtcVEZKAKu58-qlzl-z5ANqzVZCUIqhr2E8KGrhzNgbqKLi4czNKRMflxUievPwQaN9kpKuW1yryYa21ubS6naP2sIrfXtKNDp0tjnB2nCKpb6f5C3H31MZxJLq7EU5/s1600/01_TaraCooper_Contre+Vents.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp7QzWIDYNg9CRBZtcVEZKAKu58-qlzl-z5ANqzVZCUIqhr2E8KGrhzNgbqKLi4czNKRMflxUievPwQaN9kpKuW1yryYa21ubS6naP2sIrfXtKNDp0tjnB2nCKpb6f5C3H31MZxJLq7EU5/s320/01_TaraCooper_Contre+Vents.jpg" width="213" /></a></div>
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<b><span style="font-size: large;">Tara Cooper</span></b></div>
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<b><i><span style="font-size: large;">Contre Vents et Marées</span></i></b></div>
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<b>February 27</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b> - March 20</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b>, 2016 </b></div>
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<b>Reception: Saturday, February 27</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b>, 2-5 p.m.</b></div>
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<b style="-webkit-text-stroke-width: initial;"><i>loop</i></b><span style="-webkit-text-stroke-width: initial;"> Gallery is pleased to announce </span><i style="-webkit-text-stroke-width: initial;">Contre Vents et Marées, </i><span style="-webkit-text-stroke-width: initial;">a new exhibition by </span><b style="-webkit-text-stroke-width: initial;">Tara Cooper.</b></div>
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<span style="-webkit-text-stroke-width: initial; text-align: justify;">This exhibition takes cues from Sir Francis Beaufort, the inventor of the Beaufort wind scale. Invented primarily for the Royal Navy in 1807, the 13-point scale remains a standard for estimating the force of winds through visual observations recorded at sea and on land. The exhibition’s title </span><i style="-webkit-text-stroke-width: initial; text-align: justify;">Contre Vents et Marées </i><span style="-webkit-text-stroke-width: initial; text-align: justify;">is a meteorological idiom; its English translation </span><i style="-webkit-text-stroke-width: initial; text-align: justify;">against winds and tides</i><span style="-webkit-text-stroke-width: initial; text-align: justify;"> is understood in French as the ability to continue despite obstacles. Constructed as a series of floating platforms, the exhibition combines print, ceramics, sculpture and meteorological instruments that tell us how the winds are blowing.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span></div>
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<b style="-webkit-text-stroke-width: initial; text-align: justify;">Tara Cooper</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> draws from meteorology and creative non-fiction, resulting in projects housed under the moniker </span><i style="-webkit-text-stroke-width: initial; text-align: justify;">Weather Girl.</i><span style="-webkit-text-stroke-width: initial; text-align: justify;"> She received her MFA from Cornell University, specializing in the disciplines of print, short film and installation. Recent accomplishments include residencies at Anderson Ranch Art Center, The Wassaic Project and Landfall Trust, as well as arts council grants from Ontario and Canada. Her exhibition record spans more than a decade, covering local, national and international venues. She is an Assistant Professor in the Department of Fine Arts at the University of Waterloo. This exhibition was made in collaboration with her partner (and husband) Terry O’Neill.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span></div>
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<span style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; text-align: justify;">Image:</span><span style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; text-align: justify;"> </span><i style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; text-align: justify;">Contre Vents et Marées (against winds and tides), </i><span style="-webkit-text-stroke-color: rgb(128, 128, 128); -webkit-text-stroke-width: initial; color: grey; text-align: justify;">sewn banner with screenprint, 8’ x 3’, 2015. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj09_7Rhp1UNH9RbsfF1Ydo2yYKJnx8fCX76V9XKIBMbHHwlonokEZ1PQ5YPjYJMVBeOpaqrQVZuG55k0oxhvkJCM-HygZs2cl60RrimNyf1ciXvuX4rqKDfRDs4sTbFOZLJQeNZsxKMA5M/s1600/02_RichardSewell_invite+image.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj09_7Rhp1UNH9RbsfF1Ydo2yYKJnx8fCX76V9XKIBMbHHwlonokEZ1PQ5YPjYJMVBeOpaqrQVZuG55k0oxhvkJCM-HygZs2cl60RrimNyf1ciXvuX4rqKDfRDs4sTbFOZLJQeNZsxKMA5M/s320/02_RichardSewell_invite+image.jpg" width="320" /></a></div>
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<b><span style="font-size: large;">Richard Sewell</span></b></div>
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<b><i><span style="font-size: large;">Compression</span></i></b></div>
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<b>February 27</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b> - March 20</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b>, 2016 </b></div>
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<b>Reception: Saturday, February 27</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b>, 2-5 p.m.</b></div>
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<span style="font-family: "times new roman"; line-height: normal;"> </span><b style="-webkit-text-stroke-width: initial;"><i>loop</i></b><span style="-webkit-text-stroke-width: initial;"> Gallery is pleased to announce </span><i style="-webkit-text-stroke-width: initial;">compression,</i><span style="-webkit-text-stroke-width: initial;"> a new exhibition by </span><b style="-webkit-text-stroke-width: initial;">Richard Sewell.</b></div>
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<b style="-webkit-text-stroke-width: initial; text-align: justify;">Then</b><span style="-webkit-text-stroke-width: initial; text-align: justify;">. A long time ago,</span><b style="-webkit-text-stroke-width: initial; text-align: justify;"> wHer</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> between eolith and artefact, near geoglyph:</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">Local, one observant, located </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">toward > image</b><span style="-webkit-text-stroke-width: initial; text-align: justify;">. Their nascent: locale, one, object and surface, sequenced about ensemble- about a </span><i style="-webkit-text-stroke-width: initial; text-align: justify;">curious</i><span style="-webkit-text-stroke-width: initial; text-align: justify;"> notation </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">toward > preference.</b><b style="-webkit-text-stroke-width: initial; text-align: justify;">Now</b><span style="-webkit-text-stroke-width: initial; text-align: justify;">. Current,</span><b style="-webkit-text-stroke-width: initial; text-align: justify;"> wHer</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> ensemble occurs: locale, one, object, surface- a </span><i style="-webkit-text-stroke-width: initial; text-align: justify;">worded</i><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><i style="-webkit-text-stroke-width: initial; text-align: justify;">notation</i><span style="-webkit-text-stroke-width: initial; text-align: justify;">, humanly a-sequence, about-curiously needing-allowing- one, two:</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">Too </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">< use > image. </b><span style="-webkit-text-stroke-width: initial; text-align: justify;">Here curiosities! </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">wHer</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> locations, observations, sequences, local- ensemble, move one: </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">toward > encouragements</b><span style="-webkit-text-stroke-width: initial; text-align: justify;">; </span><b style="-webkit-text-stroke-width: initial; text-align: justify;"><</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">away</b><span style="-webkit-text-stroke-width: initial; text-align: justify;"> from </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">cautions. </b></div>
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<span style="-webkit-text-stroke-width: initial; text-align: justify;">Richard Sewell co-founded Open Studio in 1970; continued as artist, printmaker, publisher, and collaborator in: dance, music, and performance; taught with several Canadian colleges and universities; retired professor emeritus from Sheridan College in 2008.</span><span style="-webkit-text-stroke-width: initial; text-align: justify;"> </span><span style="-webkit-text-stroke-width: initial; text-align: justify;">Mr. Sewell exhibited in, staged and/or curated presentations in Canada, the United States, Australia, England, Europe, South Korea, Japan, and recently with KWAG, AGO, Open Studio, and Harbourfront. Now </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">image</b><span style="-webkit-text-stroke-width: initial; text-align: justify;">ologist</span><i style="-webkit-text-stroke-width: initial; text-align: justify;">, </i><span style="-webkit-text-stroke-width: initial; text-align: justify;">Mr. Sewell pursues</span><i style="-webkit-text-stroke-width: initial; text-align: justify;"> </i><b style="-webkit-text-stroke-width: initial; text-align: justify;">wHer, geoplasticimage: gpi,</b><i style="-webkit-text-stroke-width: initial; text-align: justify;"> </i><span style="-webkit-text-stroke-width: initial; text-align: justify;">and </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">locusethics</b><span style="-webkit-text-stroke-width: initial; text-align: justify;">, a 3-part </span><i style="-webkit-text-stroke-width: initial; text-align: justify;">work/query</i><span style="-webkit-text-stroke-width: initial; text-align: justify;"> about one located curiosity called </span><b style="-webkit-text-stroke-width: initial; text-align: justify;">image</b><span style="-webkit-text-stroke-width: initial; text-align: justify;">. Mr. Sewell lives in Grand Bend, Ontario.</span></div>
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<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-size: 11px; text-align: justify;"><i>loop</i> Thanks : AUDAXlaw Sumac.com</b><br />
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<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-size: 11px; text-align: justify;">loop Gallery</b><br />
<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-size: 11px; text-align: justify;">1273 Dundas Street West, Toronto, Ontario, Canada, M6J 1X8</b><br />
<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-size: 11px; text-align: justify;">Gallery Hours: Wed-Sat. 12to % pm, and Sun. 1 to 4 pm. For more information please contact the gallery director at 416-516-2581 </b><br />
<b style="font-size: 11px; text-align: justify;"><span style="color: #7f7f7f;">or </span><u><span style="color: blue;">loopgallery@gmail.com</span></u><span style="color: #7f7f7f;"> or visit </span><span style="color: blue;"><u>www.loopgallery.ca </u></span></b></div>
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-43743224521838720242016-01-26T09:40:00.002-05:002016-01-26T09:40:35.445-05:00New Works by loop Gallery Artists: Gareth Bate and Mindy Yan Miller<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmwh0koz0TreoFkkCjH2pjIS8KJt70P6jIBVg5Uu4N9-oHQD7NSlW-yjEePZZOcpREkhr3hp3ZiD6hoXoLtpEztQCt5IrT_TUB04FZ-5n5bnPux9pXevvDo3bLc2UyHLJ7B6ZAmZwSNxOM/s1600/gareth.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmwh0koz0TreoFkkCjH2pjIS8KJt70P6jIBVg5Uu4N9-oHQD7NSlW-yjEePZZOcpREkhr3hp3ZiD6hoXoLtpEztQCt5IrT_TUB04FZ-5n5bnPux9pXevvDo3bLc2UyHLJ7B6ZAmZwSNxOM/s320/gareth.jpg" width="320" /></a></div>
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<b><span style="font-size: large;">Gareth Bate</span></b></div>
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<b><i><span style="font-size: large;">Cape Flora</span></i></b></div>
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<b>January 30</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b> – February 21</b><span style="line-height: normal;"><b><sup>st</sup></b></span><b>, 2016</b></div>
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<b>Reception: Saturday, January 30</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b>, 2-5 p.m.</b></div>
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<b>Q </b><b style="-webkit-text-stroke-width: initial; text-indent: 7.1px;">& A: Sunday February 21</b><span style="-webkit-text-stroke-width: initial; line-height: normal; text-indent: 7.1px;"><b><sup>st</sup></b></span><b style="-webkit-text-stroke-width: initial; text-indent: 7.1px;">, 2 p.m.</b></div>
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<b>Gareth says:</b> “My new Cape Flora paintings are about letting go and allowing myself to just make art without ideas about what kind of an artist I am - or ought to be. There’s no political agenda, no intellectual concepts and nothing capital C contemporary blah blah. My new philosophy of art making is “I don’t give a crap.” Or perhaps the more Bhagavad Gita way of saying it - detachment from the outcome. (I love the Bhagavad Gita by the way.) Now of course I care deeply about making art. I just don’t care what imagery comes out. As they’d say on LOST - Whatever happened happened. No judgement, no expectations. The result - remarkably - is totally coherent and one of the best bodies of work I’ve done. I love these paintings.</div>
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Every year I visit North Lake - a little fishing village in Prince Edward Island. A really special place. Every night, sitting around the dining room table with my partner Graham - I’d just draw in markers. I didn’t care what happened because they didn’t matter. The results were boisterous and vibrant drawings of plants, flowers and amorphous sea creatures. It was so liberating. </div>
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I’d been working on a body of work for a year and was sick to death of it. It was stale and contrived. When I returned to Toronto - in one day - I painted over 30 paintings - a year of work! I experimented with an “automatic” approach. This meant I just launched right in with spontaneous brushwork and went wild. No conscious thought or intention. Whatever imagery emerged I just went with it. </div>
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Immediately the paintings had a raw vitality. An explosion of new life. Spring bursting out, letting go. They’re filled with vines, knots, nerves, trees, leaves, blossoms and glowing lights. A cosmic garden or tree of life. Swirls of colour and churning vortexes of tangled webs and crisscrossing vines. These elements then repeat and rearrange themselves in new ways. My intentional paintings would never have looked like this! I feel rejuvenated, like I’ve released a ton of built up tension and anxiety. Over the last few months I’ve refined these images into finished paintings without losing their initial impulse. </div>
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I now recognize that the paintings feel reminiscent of my 2015 trip to South Africa. I was born there and we left when I was six because of Apartheid. I was returning after almost two decades. In Cape Town I visited the spectacular Kirstenbosch National Botanical Garden at the foot of Table Mountain. I was with my half-sister who I was meeting for the first time. The remarkable collection of local fynbos and protea plants seeped into my mind.</div>
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For me the paintings feel reminiscent of the tangled vines in the Book of Kells, the gardens in Indian Mughal miniatures, the weaving of Islamic calligraphy, microscopic photos of cells and the plant patterns of William Morris. All completely accidental - filtering into my mind over the years and bursting out now - because I finally let it.”</div>
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Gareth Bate is a Toronto artist working in painting, installation and photography. He’s the co-curator of Oakville’s World of Threads Festival of contemporary fibre/textile art. He teaches abstract painting and art history at Central Tech. He does art tours of galleries and museums called “Art World Untangled. <a href="http://www.garethbate.com/subscribe.html"><span style="-webkit-text-stroke-color: rgb(4, 51, 255); color: #0433ff;">Subscribe here</span></a> to get his weekly emails about making art, art history and the art world. You can see more of his work at <a href="http://www.garethbate.com/"><span style="-webkit-text-stroke-color: rgb(4, 51, 255); color: #0433ff;">garethbate.com</span></a></div>
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Image: <i>Cape Flora, </i>acrylic on wood, 12 x 12, 2015. </div>
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<b><i>loop</i> Thanks : AUDAXlaw Sumac.com</b></div>
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<b><span style="font-size: large;">Mindy Yan Miller</span></b></div>
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<b><i><span style="font-size: large;">Mother and Child</span></i></b></div>
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<b>January 30</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b> – February 21</b><span style="line-height: normal;"><b><sup>st</sup></b></span><b>, 2016 </b></div>
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<b>Reception: Saturday, January 30</b><span style="line-height: normal;"><b><sup>th</sup></b></span><b>, 2-5 p.m.</b></div>
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<b>Q & A </b><b style="-webkit-text-stroke-width: initial; text-indent: 7.1px;">Sunday, February 21</b><span style="-webkit-text-stroke-width: initial; line-height: normal; text-indent: 7.1px;"><b><sup>st</sup></b></span><b style="-webkit-text-stroke-width: initial; text-indent: 7.1px;">, 2 p.m.</b></div>
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For her first exhibition at loop Gallery, <b>Yan</b> <b>Miller </b>returns to a longstanding fascination with flesh. Using cowhides and calfskins that she has carefully clipped, patterned, and perforated, <b>Yan Miller </b>exposes the surprising fragility of these tough skins. “The material is very precious; these hides are the residue of a life and I couldn't bear to waste them,” <b>Yan Miller</b> explains. The title derives from conceptually pairing hides and calfskins - at once a clever gesture at parent-child resemblance, and a painful reminder of the shared fate of both mother and child within the animal industrial complex. </div>
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<b>Yan Miller’s</b> work has long related to the body, and often engaged clothing, skin, or hair in monumental temporary installations. <i>Mother and Child</i> marks the beginning of a studio based practice, while sharing the spiritual and philosophical underpinnings that have defined her work for more than 3 decades.</div>
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<b>Mindy Yan Miller</b> was born in Sault Ste Marie and graduated from the Nova Scotia College of Art & Design in 1990. She teaches Fibres and Material Practices at Concordia University. She has been the recipient of numerous grants from the Canada Council for the Arts, the Quebec Arts Council, the Saskatchewan Arts Board and the Concordia Union for Part-time Faculty. Her work has been exhibited at the Moose Jaw Museum and Art Gallery (Saskatchewan), The Southern Alberta Art Gallery (Lethbridge), La Centrale (Montreal), Mercer Union (Toronto), Fe Gallery (Philadelphia), W139 (Amsterdam) and galleries across North America and Europe. <b>Yan Miller</b> lives in Saskatoon and periodically teaches in Montreal.</div>
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<span style="-webkit-text-stroke-color: rgb(0, 0, 0); color: black; font-family: 'Times New Roman'; line-height: normal;"> </span>Image: <i>untitled (universe)</i>, shaved cowhide, 56.25” x 56.25” (2015)</div>
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<b><i>loop</i> Thanks : AUDAXlaw Sumac.com</b></div>
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<b><i>loop</i> Gallery</b><span style="-webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> </span></div>
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1273 Dundas Street West, Toronto, Ontario, Canada, M6J 1X8 </div>
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<i>Gallery Hours:</i> Wed - Sat 12 to 5 pm, and Sun 1 to 4pm. For more information please contact the gallery director at 416-516-2581 or <a href="mailto:loopgallery@gmail.com"><span style="-webkit-text-stroke-color: rgb(4, 51, 255); color: #0433ff; line-height: normal;">loopgallery@gmail.com</span></a> or visit <a href="http://www.loopgallery.ca/"><span style="line-height: normal;">www.loopgallery.ca</span></a></div>
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-22137292744351387842016-01-12T16:41:00.000-05:002016-01-12T16:41:20.299-05:00A New Year of Studio Visits!<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7RTCx2I9Ov-Sm6XoDUj18Zm-_Y-tADKPOEwP5z_FWjFJ4zHzCHS_YwX27t43wT1-ANOlhAKW7Ex55MSdXfWRIlVCUE5BaZ-fg30VrxZPp0HafFMs7Ww33TTfpawyf5gm9dICpgync2hw/s200/studio-sneak-peek.jpg" width="200" /><span style="font-family: Verdana,sans-serif;">a visit with <b>SUZANNE NACHA</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcvzeCOuk2my9663vduXSa-xEbvDpPTjY2rkB3pLreiw_-xf0_A2NXf0HT4njy88MNVOtaJ5m3DopjVWqEzWqEJA_1-YQDBkg72WakoKG0Fcuf3vRSHSI51mDGnkYHHdd2y6UBVlwjtK8/s1600/01Nacha_studio_Sointula_Aug2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcvzeCOuk2my9663vduXSa-xEbvDpPTjY2rkB3pLreiw_-xf0_A2NXf0HT4njy88MNVOtaJ5m3DopjVWqEzWqEJA_1-YQDBkg72WakoKG0Fcuf3vRSHSI51mDGnkYHHdd2y6UBVlwjtK8/s640/01Nacha_studio_Sointula_Aug2015.jpg" width="640" /></a></div>
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<b>Tell us how you approach working at an artist residency and how that differs to working in your personal studio space? </b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX4sjR2RqBSH7ekJFSJIrDdD8zgxMRoJtO8tBdkkscR61DDhkIiyddG3KuinTCVk4OAHxFjjTpBLufhWVUhagQzOO4Kh4xn9X4tG4CinG44tvwJ7o90H9rj0MoJ0auxwcffCKtYhNttlY/s1600/02Nacha_studioDec2015.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX4sjR2RqBSH7ekJFSJIrDdD8zgxMRoJtO8tBdkkscR61DDhkIiyddG3KuinTCVk4OAHxFjjTpBLufhWVUhagQzOO4Kh4xn9X4tG4CinG44tvwJ7o90H9rj0MoJ0auxwcffCKtYhNttlY/s640/02Nacha_studioDec2015.jpg" width="480" /></a> <span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Residency work differs from studio work in a couple of ways. It's a more focused experience with fewer calls and less laundry. I'm also less likely to get high-jacked by creative tangents during a residency. I tend to bring with me only what I'll need for one or two projects and the simple lack of materials means that I'll stick to a process long enough to get beyond the obvious. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ2Lm6ndf4oArE4LaBtoQ8_3SCPjg37f4A5mmybBCdMD4oNalOzcqGA3d01B73cUmEKfLGSXyo18qbI8tfoJrjNmEwa9YA8NHobKeE6AuvVL2xHD8QA_pOOKGCDJL2xeeqVtl_3gEMS4I/s1600/03Nacha_painting_crap_caddy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ2Lm6ndf4oArE4LaBtoQ8_3SCPjg37f4A5mmybBCdMD4oNalOzcqGA3d01B73cUmEKfLGSXyo18qbI8tfoJrjNmEwa9YA8NHobKeE6AuvVL2xHD8QA_pOOKGCDJL2xeeqVtl_3gEMS4I/s640/03Nacha_painting_crap_caddy.jpg" width="640" /></a></div>
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<b>What artist’s work is pushing/inspiring you </b></div>
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<b>creatively these days?</b></div>
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<span style="font-family: Verdana,sans-serif;">Lately I've been looking at the paintings of Edward Wadsworth, an
English artist associated with Vorticism and one of the creators of
Dazzle Camouflage. I am especially interested in his surreal seaside
paintings in tempera from the 1930's and 40's. </span></div>
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<b>What themes reoccur in your work?</b></div>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">I'm
not sure that you would call this a theme but something I always think
about in relation to art making is how to translate an understanding of
one's physical body in the world into imagery that resonates beyond
specific cultural experience. I try to make images and objects
accessible to anyone with a heart that beats and skin that yields.
Anthropomorphism and humor always play a part. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nj02CH6ljHEtg5vr0_MKMljhPqYmy23XrN1JNZDiNisZx5jznRCkriu-FHEUCfOtCtizjELmJEDIy-x6iCWDFd6HcUDf-Rp72HMPc9srv7RXtxd6HlJIp_s63J9vpA3QORekFhSiqPA/s1600/05Nacha_ceramic_progress.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nj02CH6ljHEtg5vr0_MKMljhPqYmy23XrN1JNZDiNisZx5jznRCkriu-FHEUCfOtCtizjELmJEDIy-x6iCWDFd6HcUDf-Rp72HMPc9srv7RXtxd6HlJIp_s63J9vpA3QORekFhSiqPA/s640/05Nacha_ceramic_progress.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRo1it_BsSurScck_QLzDiFixFjvnYR99L1wC_2zM8MyFSEkzHHeQLqs9mIbnCfg7TFAiCP6tqv7IgFtGGhEZr5EnnQWSVb4Y0ljns4qAu8nnZcRPUp4CpmgEPmC589rfFvwU1XaybTT8/s1600/04Nacha_triple_threat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRo1it_BsSurScck_QLzDiFixFjvnYR99L1wC_2zM8MyFSEkzHHeQLqs9mIbnCfg7TFAiCP6tqv7IgFtGGhEZr5EnnQWSVb4Y0ljns4qAu8nnZcRPUp4CpmgEPmC589rfFvwU1XaybTT8/s400/04Nacha_triple_threat.jpg" width="225" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq8I-SscbQhTq0XdVjsLUPrOIRxINrjiGGqVXGPSgbWoO6YHk4hWenS0gCurIxvdgOZbUoGo0DgS_AamQzZprpHf7Tm2AwTKiFKTTu1mrEadZIsvn7lilMzz4vUlSBlY8er_Jq8GXXPkY/s1600/06Nacha_ceramics_inprogress.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq8I-SscbQhTq0XdVjsLUPrOIRxINrjiGGqVXGPSgbWoO6YHk4hWenS0gCurIxvdgOZbUoGo0DgS_AamQzZprpHf7Tm2AwTKiFKTTu1mrEadZIsvn7lilMzz4vUlSBlY8er_Jq8GXXPkY/s400/06Nacha_ceramics_inprogress.jpg" width="300" /></a></div>
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<b>What is your biggest challenge in art making? </b></div>
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<span style="font-family: Verdana,sans-serif;">Making
final decisions and finishing things is my biggest challenge but having
exhibitions and related deadlines tends to force my hand. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXMW3zqj8D8XqbISRJzS7Ow_2ckS4HzKM7b-lXuVFywzyPUswvudvtxgcDK7NyyuAAlEOIMgAPgeN7mEV0sW45wPkeeusVbVoupAiDxgiL093Hf6WqyygmzD9urw5aV0mOakwWrc7iGIA/s1600/08Nacha_sculpture_graveyard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXMW3zqj8D8XqbISRJzS7Ow_2ckS4HzKM7b-lXuVFywzyPUswvudvtxgcDK7NyyuAAlEOIMgAPgeN7mEV0sW45wPkeeusVbVoupAiDxgiL093Hf6WqyygmzD9urw5aV0mOakwWrc7iGIA/s640/08Nacha_sculpture_graveyard.jpg" width="640" /></a></div>
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<b>Must-see/do/watch/read list for 2016?</b> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWlb3MedTes7oa6AdAUM1as0EHak4TbWk5Milul8HvpJJ_R0F43tI9WufQ_jFeQtZMwjVgRhZ_uI50e_yBu5ZbPZCW0rPH1C4ODuuekTA9unTzEj57ZJxFxHs0ucxzBGyOv5vHLKZAvXE/s1600/09Nacha_reflective_mood.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWlb3MedTes7oa6AdAUM1as0EHak4TbWk5Milul8HvpJJ_R0F43tI9WufQ_jFeQtZMwjVgRhZ_uI50e_yBu5ZbPZCW0rPH1C4ODuuekTA9unTzEj57ZJxFxHs0ucxzBGyOv5vHLKZAvXE/s320/09Nacha_reflective_mood.jpg" style="cursor: move;" width="320" /></a><span style="font-family: Verdana,sans-serif;">In 2015 I got halfway through watching all of the animated films of Hayao Miyazaki. In 2016 I will finish. <b><br /> </b></span></div>
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Thanks for the visit Suzanne!!</div>
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Suzanne's exhibition </div>
<span style="color: #999999; font-size: large;">minera-logic</span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>continues at Loop until January 24th.</b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><span style="font-size: small;">find more about her work here: </span><b><br /></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><span style="font-size: small;"><a href="http://www.suzannenacha.com/">www.suzannenacha.com</a> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><a href="http://www.loopgallery.ca/loop/S._Nacha.html"><span style="font-size: small;">www.loopgallery.ca/loop/S._Nacha</span></a><b><br /></b></span></div>
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<br />Sandra Smirlehttp://www.blogger.com/profile/10017226971901782207noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-7720366591592643232016-01-06T09:44:00.000-05:002016-01-06T09:44:47.328-05:00Loop is Pleased to Present New Works by Gary Clement and Suzanne Nacha<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;"><i>Gary Clement</i></span></h2>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>January 6-24, 2016</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Reception: January 9, </b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Loop Gallery is pleased to announce </span><span style="font-family: Arial, Helvetica, sans-serif; font-style: italic;">NATURE BOY,</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large; font-style: italic;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">a new exhibition by </span><b style="font-family: Arial, Helvetica, sans-serif;">Gary Clement.</b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The paintings and drawings in <i>NATURE BOY</i><span style="font-size: large;"> </span>record <b>Clement's</b> open and emotional response to the intense and overwhelming beauty of the landscape he encountered in recent trips to the coast of Labrador and the Algonquin Park region. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The pieces in this show address the wonder and variety of those often remote, always visually striking environments. It is a show of multiple firsts for <b>Clement</b>...a first time using oils, a first landscape show and a first time departing from his natural tendency to urban cynicism in favour of giving himself over entirely to an immersive and near mystical experience of nature.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Gary Clement</b> has been the editorial cartoonist for the National Post since 1998. His work has been published in the New York Times, The Guardian and the Wall Street Journal.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">He is also a writer and illustrator of children's books and is a three time nominee for the Govenor General's Award for Illustration. He won the award in 1999 for his book, The Great </span></div>
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This is his eighth show at Loop.</div>
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<span style="color: #999999;">Image: <i>Lake of Bays,</i> August 21, 8:50 PM, oil on canvas, 2015</span></div>
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<span style="font-size: x-large;">Suzanne Nacha</span></h2>
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<span style="color: #999999; font-size: x-large;">minera-logic</span></h2>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>January 6-24, 2016</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Reception: January 9, </b></span></div>
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<i><b>Miners-logic</b></i> is an exhibition of new paintings by Toronto artist, Suzanne Nacha. In an effort to depict our human relationship to the earth- our position upon it and our overwhelming lack of understanding beyond it- <b>Nacha</b> turns to the logic of material structures in creating this new body of work.</div>
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Equally absurd and solemn, the paintings reflect on our position in the world by setting up formal relationships between space and object, light and shadow, and in creating a narrative that unfolds as much as through what is seen as what is not. Material piles begin to take on anthropomorphic form, occupyig a landscape seemingly empty and timeless. But these are not the sort of narratives that offer any resolve. Their empty spaces and exaggerated shadows convey a sense of potential rather than assertion and time here is not linear but cyclic. The result is a narrative that does not offer up answers but rather a range of experience that spans silent contemplation at one end and a sense of unease at the other.<br />
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<b>Suzanne Nacha</b> is an artist working in painting, sculpture , and video. Her work is imbued with a visual language enriched by her experience mapping the far-reaches of Canada, creating geologic maps that span the earth's continents and the study of structural geology. She has exhibited in Canada, the United States and Europe and is represented in public and private collections, including the Department of Foreign Affairs and International Trade, The National Bank of Canada, The Donavan Collection and the Robert McLaughlin Gallery. Born in Hamilton Ontario, she holds a degree in both Fine Art and Geology. She has taught in the Fine Art Departments of OCAD, Sheridan/UTM and York University, and for the past fifteen years has worked in the mining industry mapping geographies of fortune and need.<br />
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<span style="color: #999999;">Image: under a billion suns, 2015, oil on panel. 19" x 24.5"</span><br />
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-90647362707321613762015-12-02T14:21:00.003-05:002015-12-02T14:33:42.214-05:00Don't Miss New Works by loop Artists Mark Adair and Yael Brotman<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-large;">Mark Adair</span></h2>
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<b><i><span style="font-size: x-large;">Death’s Epilogue</span></i></b></div>
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<b><i><span style="font-size: x-large;">Glass House Window</span></i></b></div>
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<b><span style="font-size: large;">December 5 – 27, 2015</span></b></div>
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<b><span style="font-size: large;">Reception: December 5, 2-5PM</span></b></div>
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<b><span style="font-size: large;">& A December 5 @ 3PM</span></b></div>
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Loop Gallery is pleased to announce a new exhibition by <b>Mark Adair</b> entitled <i>Death’s Epilogue: The Glass House Window.</i></div>
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<b>Adair</b> has always simultaneously worked on parallel projects. The two featured in this show are the <i>Death Drinks</i> series (1999-2015) which <b>Adair</b> concludes with more small charcoal drawings and the new piece, <i>The Glass House Window</i>, which is a glass, steel and lead window featuring a version of the Tree of Knowledge. <i>Death's Epilogue</i> is ironic and dark; <i>The Glass House Window</i> is a new departure for <b>Adair </b>-- it is a meditation on the need for sincerity.</div>
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<b>Adair</b> graduated from York University with his BFA and went on to do his MFA at the University of Victoria in B.C. in the early 80's. After returning to Toronto in 1983 he almost immediately became involved in Green politics, and the questions and anxieties that have arisen from the observation of the steady deterioration of our planet have formed the basis of his work for the last thirty years. 'How did we get to this place?' Why did we allow it to happen?' 'Why are we so reticent "to do something" before it is too late?'</div>
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Learn more: http://www.markadair.ca/</div>
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Image: <i>Death’s Larvae, </i>charcoal on paper, 2015</div>
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<span style="font-size: x-small;"> </span><b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-family: 'Arial Narrow'; font-size: 11px; text-align: justify;"><i>loop</i> Thanks : AUDAXlaw Sumac.com</b></h3>
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<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow';"><span style="color: #7f7f7f; font-size: x-small;"> </span><span style="color: #7f7f7f; font-size: x-large;"> </span></b><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow';"><span style="font-size: x-large;">Yael Brotman</span></b></div>
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<b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow';"><span style="font-size: x-large;"> </span><span style="font-size: large;"> </span></b><b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-family: 'Arial Narrow';"><i><span style="font-size: x-large;">We</span></i></b><br />
<b style="-webkit-text-stroke-color: rgb(127, 127, 127); -webkit-text-stroke-width: initial; color: #7f7f7f; font-family: 'Arial Narrow';"><i><span style="font-size: x-large;"> Standing by Water</span></i></b><br />
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<b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 16px;"> </b><span style="font-size: large;"><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 16px;">December </b><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 16px;">5 – 27, 2015 </b></span></div>
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<span style="font-size: large;"><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 16px;"> </b><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 16px; text-indent: 7.1px;">Reception: December 5, 2-5PM</b></span></div>
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<span style="font-size: large;"><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 16px; text-indent: 7.1px;"> </b><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 16px; text-indent: 7.1px;">Q </b><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow'; font-size: 16px; text-indent: 7.1px;">& A December 5 @ 3PM</b></span></div>
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<span style="font-size: large;">This</span> exhibition is a poetic investigation into the sites where action and inaction intersect. We may be full of longing, willing a lover, a friend, to come to us. But we remain transfixed until the loved one releases us by their action.</div>
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In western mythology, often women are the ones standing by a body of water, wishin’ and hopin’. Penelope looks out at the sea for twenty years, waiting for Ulysses’ ship to return. She unravels each day’s labour in order for her world to stay inert, frozen in time. In Dvorak’s opera <i>Rusalka,</i> water plays a crucial role in the water nymph’s tragedy. But the situation is different from that of Penelope. Rusalka, living in the depths of a lake, longs to experience the passion of human love. She can’t take action until an external force, the witch’s potion, transforms her and she is able to walk on the shore to meet the Prince. In <i>Genesis, </i>Rebecca stands by a contained body of water, a well, also waiting. The chain of events leading to her destiny as the mother of nations begins when a stranger requests a drink of water.</div>
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The shards of colour, the twinkling lights, the reflections in the exhibition, imbue the work with a sense of the sublime we feel in our relation to water. Yet when we wait by water, there is also the inherent implication of waiting for someone. Then, as in the myths and fairy tales referenced above, the sense of wonder is darkened by anxiety, a dichotomy ever-present in the human condition.</div>
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<b>Yael Brotman</b> is a long time member of Loop Gallery. She also exhibits nationally and internationally including at the Biennale internationale d’estampe contemporaine de Trois-Rivières; McMaster Museum of Art, Hamilton; ODD Gallery, Dawson City, Yukon; and at the International Print Centre New York; Zweigstelle Berlin, Germany; Monash University, Melbourne, Australia; Ceramic Institute, Jingdezhen, China. She has been awarded grants, and residencies in Scotland, China, Australia, Ireland, Yukon and Banff. <b>Brotman</b> is on faculty at the University of Toronto Scarborough and is president of CARFAC Ontario.</div>
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Image: <i>Well I,</i> foam core, theatre gels, LED lights, 2015. <i>Photo credit: Peter Legris</i></div>
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-27466543395466450412015-11-08T19:29:00.000-05:002015-11-08T19:29:23.299-05:00New work by loop artists: Martha Eleen and John Ide<br />
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<span style="font-size: x-large;">Martha Eleen</span></h2>
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<span style="color: #999999; font-size: large;"><i>The Meaning of Things</i></span></h3>
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<b><span style="font-size: large;">November 7-29, 2015</span></b></div>
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<b><span style="font-size: large;">Reception: Novenmber 7, 2- 5 PM</span></b></div>
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<span style="font-size: large;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow';"><b>Loop Gallery</b> is pleased to present a new exhibition by </span><b style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow';">Martha Eleen</b><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow';"> entitled, </span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Arial Narrow';">The Meaning of Things.</i></span></div>
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<span style="font-size: large;">In her 2014 show, “My Space”, Eleen looked to her studio to document the space between the artist’s skin and the outside world. For “The Meaning of Things,” Eleen builds on the final set on paintings from “My Space” which departed into an abstract investigation of space itself. She describes her newest work very simply as “paintings of a cardboard box.” </span></div>
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<span style="font-size: large;">Martha Eleen is interested in human geography and the relationship between culture and landscape. Her paintings have received critical attention in the form of curatorial essays, reviews and publication and have been exhibited in public galleries in Canada, U.S.A, Mexico and Japan. Eleen’s work is represented in permanent collections including the Art Gallery of Ontario. She is an honours graduate of Emily Carr College of Art, Vancouver. Eleen lives in Toronto where she teaches painting and drawing at Toronto School of Art and is represented by Loop Gallery. </span></div>
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<span style="font-size: large;">Image: <i>CBC</i>, oil on wood, 20" x 20", 2015</span></div>
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<b><span style="font-size: large;"><i>loop</i> Thanks : AUDAXlaw Sumac.com</span></b></div>
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<span style="font-family: 'Times New Roman'; font-size: 12px; line-height: normal;"> </span><b>John Ide</b></div>
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<span style="-webkit-text-stroke-color: rgb(0, 0, 0); color: black;"><b> </b></span><b><i>Magritte's Cloud, </i></b></div>
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<span style="font-size: 24px; line-height: normal;"><b><i> </i></b></span><i>new drawings</i></div>
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<b>November 7 -29, 2015 </b></div>
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<b> Reception: November 7, 2-5PM</b><span style="font-size: 14px; line-height: normal;"><b> </b></span></div>
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<i style="font-family: 'Arial Narrow'; font-size: 16px;">"The drawings are striking for a gentle but uncomprimising quality, their rich texture lost in reproduction, especially online."</i><span style="font-family: 'Arial Narrow'; font-size: 16px;"> Maria Meindl</span></div>
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<span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;"> <b>Loop Gallery</b> is</span><span style="font-size: 12pt;"><span style="font-family: Arial, Helvetica, sans-serif;"> please</span></span><span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">d to present a new exhibition by </span><span style="font-family: 'Arial Narrow,Bold'; font-size: 12.000000pt;"><b>John Ide</b> </span><span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">entitled, </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 12.000000pt;"><i>Magritte's Cloud</i><b>.
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<span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">Imagery fades into the background of thousands of cross-hatched lines which Ide erases and
redraws, to create patterns of light and dark that randomly remember bits and pieces of what
was there before. "Those subtleties of dark and light, they just happen the more I'm </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 12.000000pt;">there </span><span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">in the
drawing, with the sound the pencil makes on paper," he explains.</span><br />
<span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">The show's title refers to a cloud in one of Magritte's paintings, </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 12.000000pt;">The Human Condition 1 </span><span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">(1933),
the form of which echoes here and there in the drawings.
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<span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">John Ide is a Toronto-based artist who has exhibited widely. Having created filmic works earlier
in his career, he returned to drawing in the mid-2000s. Recent exhibitions include </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 12.000000pt;">Time,
Shadow, and Light </span><span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">at Glenhyrst Art Gallery of Brant and </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 12.000000pt;">How Paper Remembers </span><span style="font-family: 'Arial Narrow'; font-size: 12.000000pt;">at Loop
Gallery.
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<span style="color: rgb(50.200000%, 50.200000%, 50.200000%); font-family: 'Arial Narrow'; font-size: 11.000000pt;">Image: </span><span style="color: rgb(50.200000%, 50.200000%, 50.200000%); font-family: 'Arial Narrow,Italic'; font-size: 11.000000pt;">Magritte's Cloud #1 </span><span style="color: rgb(50.200000%, 50.200000%, 50.200000%); font-family: 'Arial Narrow'; font-size: 11.000000pt;">(detail), colour chalk, HB & 2B pencil on Stonehenge paper, (2013-14)
</span><span style="color: rgb(49.800000%, 49.800000%, 49.800000%); font-family: 'Arial Narrow,BoldItalic'; font-size: 11.000000pt;">loop </span><span style="color: rgb(49.800000%, 49.800000%, 49.800000%); font-family: 'Arial Narrow,Bold'; font-size: 11.000000pt;">Thanks : AUDAXlaw Sumac.com </span><br />
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-46888849703621675942015-10-19T12:26:00.000-04:002015-10-19T12:28:36.042-04:00Tara Cooper and Jenn Law at loop gallery.<div style="text-align: left;">
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in a residency at Landfall Trust in Brigus, Newfoundland (</span><span lang="EN-US"><a href="http://www.landfalltrust.org/"><span style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">http://www.landfalltrust.org/</span></a></span><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">).
During a 3-week stay, she researched the history of the area and took note of
the weather. She watched an iceberg slowly dissolve in the bay, learned about
Captain Bob Bartlett, who was an arctic explorer that once brought a polar bear
home to Brigus and met Ray, the caretaker of Landfall, who told stories about
his grandfather – a whaler that lost his life in an explosion at sea. Made in
collaboration with Terry O’Neill, <i>God Love Brigus</i> compiles these
experiences into a floating raft that mixes sculpture, print, photography and
text<a href="https://www.blogger.com/null" name="_GoBack"></a>.</span></div>
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non-fiction, resulting in projects housed under the moniker Weather Girl. She
received her MFA from Cornell University, specializing in the disciplines of
print, short film and installation. Recent accomplishments include residencies
at Anderson Ranch Art Center, The Wassaic Project and Landfall Trust, as well
as arts council grants from Ontario and Canada. Her exhibition record spans
more than a decade, covering local, national and international venues. She is
an Assistant Professor in the Department of Fine Arts at the University of
Waterloo. </span></div>
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</span></span><b><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt;"> </span></b><br />
<b><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt;">Jenn
Law’s</span></b><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">
multi-disciplinary practice centres on the artifacts of print culture and our
relationship to technology as the means by which we continuously reinvent ourselves. In <i>Means
& Ends</i>, <b>Law</b> synergistically engages two technologies that have
fundamentally shaped our understanding of the world and our place in it – print
and horology (the science of time keeping). Focused on the pocket
watch and the ink bottle and combining traditional print methods with 3D
printing, <b>Law</b> presents a collection of evolving objects transitioning
between the past and the future, tradition and invention. Here,
apparent endings may become the means for innovation.</span></div>
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<br /></div>
<b><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt;">Law</span></b><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">
is an artist, writer and researcher living in Toronto. </span><span lang="EN-GB" style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">She </span><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">holds
a PhD in Anthropology from the School of Oriental and African Studies (SOAS),
University of London, England, a BA in Anthropology from McGill University, and
a BFA from Queen’s University. She has worked as a lecturer, editor
and curator in Canada, the UK and South Africa, and has published on South
African, Caribbean and Canadian contemporary art and print culture. <b>Law</b>
has exhibited her work internationally and has received numerous fellowships,
grants and awards for her research, including from the Social Sciences and
Humanities Research Council (SSHRC) of Canada, the British Council and the
British Academy. </span><span lang="EN-US"><span style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">
</span></span><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"></span>Charles Hackbarthhttp://www.blogger.com/profile/09101789800903294132noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-64071665552691473662015-09-11T09:52:00.000-04:002015-09-11T09:52:16.711-04:00New works by loop Artists Linda Heffernan and Kim Stanford<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqFNGs2pDb_6_iIK0tLeMKzS7kP_Vg6RCHxw6BsR4Cp9ACrOO46oVCX7MpiAVIDoOumr5nhh99nPVrbZxsMheNODrn9F1YYS-e3dkjLLRm7gqNE8QF9AzjYEZapqfdueXTquhMcVCMRgWn/s1600/Linda.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqFNGs2pDb_6_iIK0tLeMKzS7kP_Vg6RCHxw6BsR4Cp9ACrOO46oVCX7MpiAVIDoOumr5nhh99nPVrbZxsMheNODrn9F1YYS-e3dkjLLRm7gqNE8QF9AzjYEZapqfdueXTquhMcVCMRgWn/s320/Linda.jpg" width="320" /></a><b><span style="font-size: large;"> </span></b><br />
<span style="text-align: center;"><b><span style="font-size: large;">Linda Heffernan </span></b> </span><br />
<span style="text-align: center;"><i><span style="color: #666666;"> <b><span style="font-size: large;">Are we there yet?</span></b></span></i><b><span style="font-size: large;"> </span></b></span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><b>September 12- Oct 4, 2015 </b> </span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><b>Opening Reception:</b></span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><b>Saturday, September 12, 2-5 PM</b></span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"> </span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><i>Urbanization...is the triumph of the unnatural over the natural, <b>the grid over the organic...</b></i></span><br />
<span style="text-align: center;">(Bruce Mau: Designer) </span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><i>Why do planners <b>fix on the block</b> and ignore the street? </i></span><br />
<span style="text-align: center;">(Jane Jacobs: The Death and Life of Great American Cities)</span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><b>loop</b> gallery is pleased to present Are we there yet?, a new exhibition by <b>Linda Heffernan</b>.</span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;">Heffernan makes paintings based on satellite views of urban areas. Her new paintings are inspired by the Official Plan Review of Clarington in Durham Region as well as detailed maps for the highway 407 East project. Her process makes use of acrylic mediums and construction materials such as dry mesh drywall tape and wire fencing to build a layered image that references the pixilation of digital photography.</span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><b>Heffernan</b> lives and works in Whitby.</span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><span style="color: #666666;">Image:<i> Map A2,</i> acrylic on canvas, 2015</span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeUtCCrZqaKqo7TbuhnlKEpCglZp7G8RF87d2eJhz4y4A5NWdCA5UXnxyca5uATwmZ-EIzcDoFLCjrQFDihdMwkokenpKIzwNP5c0Fz3C4SqEijJgPYUlE6PJ_qTEVEhN-L2FBd4r2hWR7/s1600/Kim.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeUtCCrZqaKqo7TbuhnlKEpCglZp7G8RF87d2eJhz4y4A5NWdCA5UXnxyca5uATwmZ-EIzcDoFLCjrQFDihdMwkokenpKIzwNP5c0Fz3C4SqEijJgPYUlE6PJ_qTEVEhN-L2FBd4r2hWR7/s320/Kim.jpg" width="320" /></a><span style="text-align: center;"><span style="color: #999999; font-size: x-small;"><br /></span></span><br />
<span style="text-align: center;"><span style="color: #999999; font-size: x-small;"><br /></span></span>
<span style="text-align: center;"><span style="color: #999999; font-size: x-small;"><br /></span></span>
<span style="text-align: center;"><span style="color: #999999; font-size: x-small;"><br /></span></span>
<span style="text-align: center;"><span style="font-size: large;">Kim Stafford </span></span><br />
<i style="text-align: center;"><span style="color: #666666; font-size: large;">Trichotillomania</span></i><br />
<i style="color: #999999; text-align: center;"><span style="font-size: large;"><br /></span></i>
<span style="text-align: center;"><b>September 12- October 4, 2015</b></span><br />
<span style="text-align: center;"><b><br /></b></span>
<span style="text-align: center;"><b><br /></b></span>
<i style="text-align: center;"><b><br /></b></i>
<span style="text-align: center;"><b>Moustache Party and Opening Reception:</b></span><br />
<span style="text-align: center;"><b>Saturday, September 12, 2-5 pm</b></span><br />
<span style="text-align: center;"><span style="font-size: large;"><br /></span></span>
<span style="text-align: center;"><span style="font-size: large;"><br /></span></span>
<span style="text-align: center;"><span style="font-size: large;"><br /></span></span>
<span style="text-align: center;"><i>As ever, body hair was a repository for wider social and political concerns.</i></span><br />
<span style="text-align: center;"> (Rebecca Herzog: Plucked)</span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><i>the goal is not to make clearer how the violence of order is transmuted into a disciplinary technology,</i></span><br />
<span style="text-align: center;"><i> but rather to bring to light<b> the clandestine forms taken by</b> the dispersed, tactical, and makeshift</i></span><br />
<span style="text-align: center;"><i>creativity of groups or individuals already caught in the nets of 'discipline' Pushed to their ideal limits, <b>these procedures and ruses </b>of consumers compose the network of an antidiscipline</i></span><br />
<span style="text-align: center;"><i> </i> (Michel Certeau: The practiced of Everyday Life)</span><br />
<span style="text-align: center;"><i><br /></i></span>
<span style="text-align: center;"><i> self conception can be theorized as a process of hallucination</i></span><br />
<span style="text-align: center;"><i> </i>(Ted Hiebert: In Praise of Nonsense)</span><br />
<span style="text-align: center;"><br /></span>
<b style="text-align: center;">loop</b><span style="text-align: center;"> gallery is pleased to present <i>Trichotillomania</i>, a new exhibition by <b>Kim Stanford.</b> </span><br />
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><b>Stanford</b> </span><span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 12pt;">makes art about weird things, about repeating yet
divine banalities like other people’</span><span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 12pt;">s dirty socks. This
new project is inspired by her routine of plucking unwanted facial hair every day
after day after year. </span><span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 12pt;">She begins with materials
used to remove facial hair, such as wax and sugar, but soon transcends into an
increasingly macroscopic, surreal landscape.</span><br />
<span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 12pt;"><br /></span>
<span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 12pt;"><b>Stanford</b> </span><span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 12pt;">lives and works in Toronto.</span><br />
<br />
<span style="color: #666666;"><span style="text-align: center;">Image:</span><span style="font-size: x-small; text-align: center;"> </span><i><span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 11pt;">you have to pull yourself out by the root (detail), </span></i><span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 11pt;">mixed media, 2015</span></span><br />
<span lang="EN-US" style="color: grey; font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span>
<span lang="EN-US" style="color: grey; font-family: 'Arial Narrow'; font-size: 11pt;"> </span><b style="text-align: justify;"><i><span lang="EN-US" style="color: #7f7f7f; font-family: "Arial Narrow"; font-size: 11.0pt; mso-themecolor: text1; mso-themetint: 128;">loop</span></i></b><b style="text-align: justify;"><span lang="EN-US" style="color: #7f7f7f; font-family: "Arial Narrow"; font-size: 11.0pt; mso-themecolor: text1; mso-themetint: 128;"> Thanks : AUDAXlaw Sumac.com</span></b><br />
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-74054741077736680012015-08-10T09:00:00.000-04:002015-08-10T09:00:01.039-04:00Don't Miss New Works by loop Gallery Artists' Barbara Rehus & Rochelle Rubenstein <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: 'Arial Narrow,Bold'; font-size: x-large;">Barbara Rehus</span><br />
<span style="color: #999999;"><span style="font-size: x-large;">But what’s its value?</span></span><br />
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<b><span style="font-family: 'Arial Narrow,Bold';">August 15</span><span style="font-family: 'Arial Narrow,Bold'; vertical-align: 3pt;">th </span><span style="font-family: 'Arial Narrow,Bold';">– </span><span style="font-family: 'Arial Narrow,Bold';">September 6</span><span style="font-family: 'Arial Narrow,Bold'; vertical-align: 3pt;">th </span><span style="font-family: 'Arial Narrow,Bold';">2015 </span></b><br />
<b><span style="font-family: 'Arial Narrow,Bold';">Reception: Sunday, September 6</span><span style="font-family: 'Arial Narrow,Bold'; vertical-align: 3pt;">th</span><span style="font-family: 'Arial Narrow,Bold';">, 2-</span><span style="font-family: 'ArialNarrow,Bold';">5</span><span style="font-family: 'Arial Narrow,Bold';">PM </span></b><br />
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<span style="font-family: 'Arial Narrow,Bold';"><span style="font-size: large;"><b>loop </b>Gallery is pleased to announce an exhibition by member-artist <b>Barbara Rehus</b> entitled <i>But what's its value?</i></span></span><br />
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<span style="font-size: large;"><span style="font-family: 'Arial Narrow';">With this exhibit, </span><span style="font-family: 'Arial Narrow,Bold';">Rehus </span><span style="font-family: 'Arial Narrow';">introduces new work in her ongoing puppet series, which originated with
a serendipitous find of old puppet head molds. From the beginning, these characters revisited
familiar themes of previous work: nurturance and familial relationships, misogyny and fear of
loss. Early puppets were largely inanimate, but now several have avoided placement on walls or
shelves and are instead suspended. They gently sway or turn as the air moves and seem
pleased with that bit of freedom.
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<span style="font-size: large;"><span style="font-family: 'Arial Narrow';">Something else is new: after helping her mother part with most of her belongings in preparation
for a dramatic move, </span><span style="font-family: 'Arial Narrow,Bold';">Rehus </span><span style="font-family: 'Arial Narrow';">became acutely aware that, like her mother, she has collected a
huge amount of stuff/treasures which will one day have to be painfully sorted and purged. She
decided that from now on, if at all possible, material for new work must come from supplies
already on hand. This decision adds to the dialogue inherent to any particular piece the question
of what is the value of all this stuff, these treasured things, things we cannot bear to part with, but
eventually must discard.
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<span style="font-family: 'Arial Narrow';"><span style="font-size: large;"><br /></span></span>
<span style="font-size: large;"><span style="font-family: 'Arial Narrow,Bold';">Rehus </span><span style="font-family: 'Arial Narrow';">is a Toronto-based visual artist, working primarily as a mixed-media sculptor and painter.
Her work has been shown in solo and group exhibitions in public institutions, artist-run centres
and commercial galleries throughout Canada, the UK, The Netherlands, Australia, and the United
States, and is included in numerous private collections.
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<span style="font-size: large;"><span style="font-family: ArialNarrow;">Don't miss </span><span style="font-family: ArialNarrow;">a concurrent installation with Rochelle Rubinstein at the Mon Ton Window Gallery.
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<span style="font-size: large;"><span style="color: #7f7f7f; font-family: 'Arial Narrow';">Image: </span><span style="color: #7f7f7f; font-family: 'Arial Narrow,Italic';">These cost a lot, </span><span style="color: #7f7f7f; font-family: 'Arial Narrow';">Cast rubber, old costume jewelry, wooden box lid, acrylic paint, 2014 </span></span></div>
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<span style="font-size: x-large; letter-spacing: 0px;"><b>Rochelle Rubinstein</b></span></div>
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<span style="font-size: x-large; letter-spacing: 0.0px;"><b><i>Pochi Bukuro</i></b></span></div>
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<span style="letter-spacing: 0px;"><b>August 15 –September 6, 2015</b></span></div>
<div style="font-family: 'Arial Narrow'; margin-bottom: 6px; text-indent: 7.1px;">
<span style="letter-spacing: 0.0px;"><b>Reception: Sunday, September 6, 2-5PM</b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-size: large;"><b>loop </b>Gallery is pleased to announce a new exhibition by <b>Rochelle Rubinstein </b>entitled <i>Pochi Bukuro.</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-size: large;"><i>Pochi Bukuro</i> is a two-part exhibition that explores loss and gratitude. The first part of the show is a towering, block-printed and carved work on wood called <i>Kanada. </i>Named after a site where the artist’s mother worked while imprisoned during the Holocaust, <i>Kanada</i> is comprised partially of abstracted aerial views of Auschwitz.<br />
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The second piece of the exhibition is inspired by decorative Japanese gratuity envelopes called Pochi Bukuro. <b>Rubinstein</b> has made two hundred block-printed, painted and embroidered fabric pouches, in some cases printed from the same blocks that were used for <i>Kanada</i>. Impressed upon surfaces like silk, cotton, and wool, these works are a light and celebratory counterpoint to the literal and conceptual weight of <i>Kanada</i>.<br />
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In the weeks prior to the exhibition, both bodies of work were unexpectedly transformed during a fire in the artist’s studio building. By changing the smell and colour of the works, the fire revealed the intrinsic fragility of <i>Pochi Bukuro. </i>This unforeseen incident narrowed the gap between <b>Rubinstein’s </b>two bodies of work, forcing a deeper consideration of what it means to give and to take.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-size: large;"><b>Rochelle Rubinstein</b> is a printmaker, painter, fabric and book artist. She is also a community arts facilitator and curator of exhibitions at Mon Ton Window Gallery in downtown Toronto.</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-size: large;">Check out a concurrent installation with Barbara Rehus at the Mon Ton Window Gallery.</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-size: large;">Image: (detail) <i>Pochi Bukuro,</i> block printed, painted, and embroidered fabric pouches, 2015</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-size: large;"><i>loop</i> Thanks : AUDAXlaw Sumac.com</span></b></span></div>
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-30794354076162999922015-08-05T23:11:00.000-04:002015-08-07T12:05:06.658-04:00Last Opportuniy to see JJ Lee and Robyn Thomas's Work a loop Gallery!<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;">Do not miss out on your last opportunity to view <b>JJ Lee's</b> <i>Chinoiserie</i> and <i> </i><b>Robyn Thomas'</b> <i>Paper Works, </i>the show ends on Sunday, August 9, 2015!</span><br />
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<span style="letter-spacing: 0.0px;">JJ Lee <i>Hummingbird, </i> mixed media on canvas, 20” diameter, 2015</span></div>
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<span style="letter-spacing: 0.0px;">Robyn Thomas (Detail) Dictionary, 59" x 51 1/2" x 5", 2015</span></div>
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-40902351272911715762015-07-11T08:26:00.000-04:002015-07-11T08:26:38.891-04:00JJ Lee and Robyn Thomas show staring on July 18th.<!--[if gte mso 9]><xml>
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<![endif]--><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Arial Narrow","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.5pt;">July 18 - August 9, 2015 <span style="mso-spacerun: yes;"> </span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Arial Narrow","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.5pt;"><span style="mso-spacerun: yes;"></span></span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Arial Narrow","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.5pt;"><span style="mso-spacerun: yes;"></span>Reception:
Saturday, July 18, 2-5PM</span></b>
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<b><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt;">chi·noi·se·rie</span></b><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">ˌ</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"> noun</span></i><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"> (shēn</span><span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">ˈ</span><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: "Arial Narrow"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">wäz</span><span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">ə</span><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">rē)<i style="mso-bidi-font-style: normal;">a decorative style of Western art based on imitations of Chinese motifs
especially popular in 18th century Europe</i></span></div>
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<span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">This
body of work is based on blue and white china patterns such as “Blue Willow”
that depict an imagined Chinese scene. The increased importation of authentic
blue and white porcelain from China in the 1700’s into Europe spawned a fervour
for anything “oriental” and a longing for anything “exotic”. As a result,
fantastical versions of the original pottery were created by Europeans of an
imagined China.<u> </u>With round canvasses alluding to plates, <b>Lee</b>
explores the “chop suey” culture that is created when East meets West through
migration.</span><b><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt;"></span></b></div>
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<b><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">JJ Lee’s</span></b><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">
(BFA, NSCAD ‘92, MFA, York University ‘99) mixed media paintings explore the
intersection of Chinese and Canadian cultures by appropriating images from a
variety of sources. She has exhibited extensively across Canada and has
been featured in The Globe and Mail. <b>Lee</b> is the recipient of several
awards (e.g. Canada Council, Ontario Arts Council, RBC /Canadian Art
Foundation’s New Canadian Painting Competition, Asian Canadian Artists Fund for
Visual Arts). She is included in the Magenta Foundation’s “Carte Blanche:
Painting, a survey of contemporary Canadian painters”. <b>Lee </b>is an
Assistant Professor </span><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">and <span style="mso-bidi-font-style: italic;">Director, First Year</span> at<span style="mso-bidi-font-style: italic;"> OCAD University.</span></span></div>
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</span></span><span lang="EN-US" style="font-family: "Arial Narrow","sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">In <b>Thomas’s</b> new exhibition, the ancient process of weaving is used
to inspire reflection on the present value of paper as a means of record
keeping. Printed pages are used as fibre, ceasing to function as a means of
recording and informing. Woven together and divorced from their original
contexts, the pages begin to tell another story. <b>Thomas’s</b> woven
sculptures allow us to pick out snippets of information from each page, while
simultaneously approaching the reworked papers as objects of aesthetic
contemplation.</span><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"><span style="mso-bidi-font-style: italic;"></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">Robyn
Thomas</span></b><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">
is a Toronto-based artist. She studied at George Brown College, the Ontario
College of Art and Design and received her Fine Arts degree from the Nova
Scotia College of Art and Design, experimenting in both sculpture and fibre.
Her work has been shown in galleries across North America and can be found in university
collections as well as numerous private collections across the globe. <b style="mso-bidi-font-weight: normal;">Thomas’s</b> work has also been presented
by design companies including WilliamsCraig inc., Studio Pyramid, and KLAUS by
Nienkamper. </span><span style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-CA; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"><span style="mso-bidi-font-style: italic;">
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Charles Hackbarthhttp://www.blogger.com/profile/09101789800903294132noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-23448449409347335652015-07-09T15:52:00.000-04:002015-07-10T14:34:56.698-04:00Summer Studio Sneak Peek!<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDMPedXmXzY28JRZvD_3V3Qh7XDbhCTugA2LZAeKdvhfhh-MvBOIg2fgsvQ1NVS-cc3pNL7NBbw4Y0NUEvYi9cMsOFFqy_TaxNTfa_s8JGJMquh_gd8gYr-JZjJzIFeTkhz3l4bwtvlz8/s1600/studio-sneak-peek.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDMPedXmXzY28JRZvD_3V3Qh7XDbhCTugA2LZAeKdvhfhh-MvBOIg2fgsvQ1NVS-cc3pNL7NBbw4Y0NUEvYi9cMsOFFqy_TaxNTfa_s8JGJMquh_gd8gYr-JZjJzIFeTkhz3l4bwtvlz8/s1600/studio-sneak-peek.jpg" /></a> </div>
<div class="separator" style="clear: both; text-align: right;">
<span style="font-family: "Trebuchet MS",sans-serif;">a visit with <span id="goog_66271053"></span><b>Barbara Rehus</b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span id="goog_66271054"></span></b></span></div>
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<br /></div>
<span id="goog_1199129160"></span><span id="goog_1199129161"></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt;">What
do you wish you knew beforehand about being an artist? How would you have
prepared yourself differently? </span></b></span><br />
<span style="font-family: Verdana,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt;">
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<br />
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<span style="font-family: Arial,Helvetica,sans-serif;">After leaving a completely
different type of career, I finished art school older than your average
graduate.<span style="mso-spacerun: yes;"> </span>I was so happy and
excited to be a professional artist after many years of feeling off-track.<span style="mso-spacerun: yes;"> </span>At the time, it seemed very important
to follow every step, endorsed by just about anyone, that would lead to a “successful”
art career.<span style="mso-spacerun: yes;"> </span>Much of the process took
me outside my comfort zone and used up a lot of time.<span style="mso-spacerun: yes;"> </span>It was a few years before I realized I had missed the window,
time-wise, for what many consider a successful career, and that the window was likely
not a good fit anyways.<span style="mso-spacerun: yes;"> </span>I thought
through my own definition of success, and realized it included everything I
already have:<span style="mso-spacerun: yes;"> </span>the talent and drive
to make art, the support of family and friends, the necessary time, physical space
and materials, as well as the freedom to make whatever kind of art I wish.<span style="mso-spacerun: yes;"> </span></span></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt;">
</span></b>
<br />
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<br /><div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-bidi-font-family: Arial;"><span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;">Take us through your creative process when embarking on a new series of
work. </b></span></span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-bidi-font-family: Arial;">Some object, interest, or
feeling triggers an idea of what the new series might be.<span style="mso-spacerun: yes;"> </span>My current series began in 2010 with the
find of a great book on puppets that popped out at me in a used book
store.<span style="mso-spacerun: yes;"> </span>I knew right away the work would
have something to do with puppets.<span style="mso-spacerun: yes;">
</span>Then, within a month, my sister and I found old puppet head molds in a
consignment shop and that sealed the deal.<span style="mso-spacerun: yes;"> </span>We agreed to share the molds: I would cast heads and then
she would incorporate the molds into sculpture.<span style="mso-spacerun: yes;"> </span>I had not done this kind of casting before, so it took a lot
of research, much advice from very helpful staff at Canadian Sculpture Supply,
and plenty of experimentation.<span style="mso-spacerun: yes;">
</span>Many things went wrong and it was sometimes incredibly frustrating, but
I was determined to make it work.<span style="mso-spacerun: yes;">
</span>While struggling to turn out viable casts, the puppets began to present
themselves in my head, fully formed.<span style="mso-spacerun: yes;">
</span>I didn’t even know what they were about; I just sketched them as they
appeared so they wouldn’t be forgotten.<span style="mso-spacerun: yes;">
</span>Once the heads were finally cast, I started to assemble the
puppets.<span style="mso-spacerun: yes;"> </span>Each one required
something different in terms of material, technique or method of assembly.<span style="mso-spacerun: yes;"> </span>During this process, it became apparent
that the puppets were going to be largely inanimate and were revisiting themes
of earlier work: nurturance and familial relationships, misogyny, fear of
loss.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoz5FSdXiMwSW-9RYi_zsYa8ggxajYZPg_XtTUmhyphenhyphentixSCK6fNZPjeqDceFbZz-0_ub12gqvyu09sxsKpHpxjlTFAl6R74ttSBAE4rQM8sSHovGwacmzwggFRIvHsfIAaW5NQmUO2lSjU/s1600/Today+I+think+I+may+look+pretty+wip3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoz5FSdXiMwSW-9RYi_zsYa8ggxajYZPg_XtTUmhyphenhyphentixSCK6fNZPjeqDceFbZz-0_ub12gqvyu09sxsKpHpxjlTFAl6R74ttSBAE4rQM8sSHovGwacmzwggFRIvHsfIAaW5NQmUO2lSjU/s400/Today+I+think+I+may+look+pretty+wip3.jpg" width="280" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdOXZq8Z3zlYV3Y3JkaziJCxvlGTxcQGx3EEufRr6qgypjdwUUS7Gqj0jrsxONi_x_VjFjfUfLY4d8Js5TnneWO_zmCZfwnNqs8FUT_6mqZNDXyW3xic-KBO9nhdQQQBLX8b3UMRtscSI/s1600/Today+I+think+I+may+look+pretty+wip1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdOXZq8Z3zlYV3Y3JkaziJCxvlGTxcQGx3EEufRr6qgypjdwUUS7Gqj0jrsxONi_x_VjFjfUfLY4d8Js5TnneWO_zmCZfwnNqs8FUT_6mqZNDXyW3xic-KBO9nhdQQQBLX8b3UMRtscSI/s320/Today+I+think+I+may+look+pretty+wip1.jpg" width="320" /></a><br />
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--</style><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span></b></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial;">How has your process changed over time?</span></b></span><span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-bidi-font-family: Arial;">Immediately upon
graduation from art school I joined an artists’ collective, Propeller, and then
a few years later, joined the collective Loop.<span style="mso-spacerun: yes;"> </span>Each collective requires that a member exhibit on a regular
basis and I defined my bodies of work by the next upcoming show. <span style="mso-spacerun: yes;"> </span>Generally ideas would come to me whole, in
a particular medium and/or technique, and usually it was new to me.<span style="mso-spacerun: yes;"> </span>That is how I came to work with
encaustics in a variety of ways, create installations of kiln-cast glass and,
later, screen-printed and fused glass.<span style="mso-spacerun: yes;">
</span>And there are books, boxes, etched fabric panels, etc. <span style="mso-spacerun: yes;"> </span>I enjoyed the challenge of starting with
something fresh each time.<span style="mso-spacerun: yes;"> </span>The
puppet series is the first to continue across exhibitions.<span style="mso-spacerun: yes;"> </span>One reason for this is that the ideas
for these characters continue to come to me. Another other is – I think - that
each puppet gives me enough challenge in its creation; I am never bored. <span style="mso-spacerun: yes;"> </span>Over time, each series may be quite
different from the others in appearance, media, and possibly in overt
narrative.<span style="mso-spacerun: yes;"> </span>But, at core, the work
always somehow ties to a pull toward family.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3p_xE3vMNW9ognbaemYa5E92SKOPifOjdyRMlpqBz_9cGkj5SMG4nXQTQxVXVlSyiDsKNRnw2CwkjOAwjbtTcbDKQh_pnwBF7-jmLKhuri_71jTrlRVGQi6PLaZ7RjZRYEfWxfAnCzo/s1600/Today+I+think+I+may+look+pretty+wip2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3p_xE3vMNW9ognbaemYa5E92SKOPifOjdyRMlpqBz_9cGkj5SMG4nXQTQxVXVlSyiDsKNRnw2CwkjOAwjbtTcbDKQh_pnwBF7-jmLKhuri_71jTrlRVGQi6PLaZ7RjZRYEfWxfAnCzo/s400/Today+I+think+I+may+look+pretty+wip2.jpg" width="260" /></a><span style="font-family: Arial; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial;"> </span></b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial;">What do you listen to when you work – how does it play into your
process? </span></b> </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUfASfH8Qao870iUXOpTDDdSi4C9p7koisLRFWeL84qVICZi92c9f0UBcd1wqc1zm0QqjXWUTz6kr6ZEomHMl9TKkYH9HNyfw0KlWixD6JAWYmxKzZ_L5CM5qyT1KFoWu9_xJ2nB0qNCE/s1600/May+Child+wip2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUfASfH8Qao870iUXOpTDDdSi4C9p7koisLRFWeL84qVICZi92c9f0UBcd1wqc1zm0QqjXWUTz6kr6ZEomHMl9TKkYH9HNyfw0KlWixD6JAWYmxKzZ_L5CM5qyT1KFoWu9_xJ2nB0qNCE/s400/May+Child+wip2.jpg" width="265" /></a><span style="font-family: Arial; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;">
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--</style></span><span style="font-family: Arial,Helvetica,sans-serif;">I don’t listen to music or
the radio while working.<span style="mso-spacerun: yes;"> </span>I love
the sound of quiet, but unfortunately, mostly hear the sounds of lawn
equipment.</span></span></div>
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</span></span></span><span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial;"> </span></b></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial;">Does your work evoke a
personal history?</span></b></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-bidi-font-family: Arial;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-bidi-font-family: Arial;">My work has always been about family in one way or another, sometimes
obviously, and other times buried beneath layers of whatever else it is I am
trying to say.<span style="mso-spacerun: yes;"> </span>My family is quite
large, with ten brothers and sisters.<span style="mso-spacerun: yes;">
</span>Having that many children presents a challenge to any family, and ours
was made more complex by generations of various forms of dysfunction, as well
as sundry things most families experience.<span style="mso-spacerun: yes;"> </span>Growing up, older siblings cared for younger, creating
relationships often as parental as they are fraternal, and which are still
important in the way we relate to one another now.<span style="mso-spacerun: yes;"> </span>Working with family themes has been a way for me to deal
with past and current issues and to delve into complicated emotions which might
otherwise go unexamined.</span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial;"> </span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKriN3dq8IwECXX7atjiWhdCN6017DFlit5yAjTRzrkPWv_uN4Dmm4VmXtk6Eiy3f-tBBWbZ-7eXY9WAp891K9XoRXUFj2oLQPQH8z2sj9Q4KUB0ibYpBhAa97NSQBIhAGa-QitIvtwV8/s1600/These+cost+a+lot+wip3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKriN3dq8IwECXX7atjiWhdCN6017DFlit5yAjTRzrkPWv_uN4Dmm4VmXtk6Eiy3f-tBBWbZ-7eXY9WAp891K9XoRXUFj2oLQPQH8z2sj9Q4KUB0ibYpBhAa97NSQBIhAGa-QitIvtwV8/s400/These+cost+a+lot+wip3.jpg" width="280" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8SSdP2lmHzFqOzPfq2OhM_oPGn2l6VvPqDQQJj42t9rhmGQBzOz0CJ38ODZtkml9cwG4fMaZTvXyv56i9o_syRLL5zm46fPstEWwoXaataNJ-IbvqPUSCOjj3-eh-sUjMdeiAJVENEis/s1600/Stuff.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYjVR_cqu82u7yKjjovJnGgeD8h2JJxOfCbW8Pby7MWcUqFgQnyuJGcL-SPcds4YQhpzr-sRVk_t40LregPThfHThjWi8-1XV02LhHCT3tULs9OoYfdRKxa062_VfBRY1ja0_fJkO5AoM/s1600/These+cost+a+lot+wip2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="601" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYjVR_cqu82u7yKjjovJnGgeD8h2JJxOfCbW8Pby7MWcUqFgQnyuJGcL-SPcds4YQhpzr-sRVk_t40LregPThfHThjWi8-1XV02LhHCT3tULs9OoYfdRKxa062_VfBRY1ja0_fJkO5AoM/s640/These+cost+a+lot+wip2.jpg" width="640" /></a><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8SSdP2lmHzFqOzPfq2OhM_oPGn2l6VvPqDQQJj42t9rhmGQBzOz0CJ38ODZtkml9cwG4fMaZTvXyv56i9o_syRLL5zm46fPstEWwoXaataNJ-IbvqPUSCOjj3-eh-sUjMdeiAJVENEis/s400/Stuff.jpg" width="291" /><br />
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<b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;">Thanks for visiting with us Barbara!</span></span></b></div>
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<span style="font-family: Arial; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;">Barbara has an upcoming exhibition at<a href="http://www.loopgallery.ca/loop/home.html"> Loop</a><i>:</i></span><span style="mso-spacerun: yes;"></span><i> </i></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: Arial;"></span><b><i><span style="font-family: Arial,Helvetica,sans-serif;">But what’s its value? </span></i></b><i><span style="font-family: Arial,Helvetica,sans-serif;"></span></i><span style="font-family: Arial,Helvetica,sans-serif;">running August 15 – September 6, 2015</span><span style="font-family: Arial;"><span style="font-size: 12pt;"> </span></span></div>
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<span style="font-family: Arial;"><span style="font-size: 12pt;">Closing reception, September 6, 2 – 5 pm</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-weight: normal;"> </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-weight: normal;">And running</span><span style="mso-bidi-font-weight: normal;"> concurrently with loop member</span> <a href="http://www.loopgallery.ca/loop/R._Rubinstein.html">Rochelle Rubinstein</a>, </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">a collaborative installation at: </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b>Mon Ton Window Gallery</b>, 402 College Street, Toronto, Ontario <span style="font-size: 12pt;">M5T 1S8</span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;">also you can see more work at:</span></span><span style="color: blue;"><span style="font-family: Arial;"><span style="font-size: 12pt;"> <a href="http://www.barbararehus.com/">www.barbararehus.com</a></span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"> </span></span><br />
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<br />Sandra Smirlehttp://www.blogger.com/profile/10017226971901782207noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-84517857823418756562015-06-14T16:25:00.000-04:002015-06-14T16:31:07.135-04:00Artist talk by J. Lynn Campbell<div class="separator" style="clear: both; text-align: center;">
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<br />Charles Hackbarthhttp://www.blogger.com/profile/09101789800903294132noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-69118558267283264572015-05-19T11:58:00.000-04:002015-05-19T11:58:00.724-04:00New Exhibitions by Loop Artists J. Lynn Campbell and Adrienne Trent<div class="separator" style="clear: both; text-align: center;">
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<!--StartFragment--><b><span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 14pt;">May 23<sup>rd</sup> – June 14<sup>th</sup> 2015 </span></b></div>
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<b><i><span lang="EN-US" style="color: black; font-family: "Arial Narrow"; font-size: 11.5pt;">loop</span></i></b><span lang="EN-US" style="color: black; font-family: "Arial Narrow"; font-size: 11.5pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"> Gallery is pleased to announce an exhibition by member-artist <b>Adrienne
Trent</b> entitled <i>Burden of Histories II.</i> <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Arial Narrow"; font-size: 11.5pt; mso-bidi-font-family: Arial;">Essence and Senses </span></i><span lang="EN-US" style="font-family: "Arial Narrow"; font-size: 11.5pt; mso-bidi-font-family: Arial;">consist of mixed media works on paper and wall-mounted sculptures.
Situating the head as the primary location of our sensory faculties, <b>Campbell
</b>begins by photographing faces of friends, which are digitally altered into
dot patterns, reducing colour to grayscale. After printing, these images are
further transformed by manually subtracting and adding to the material base,
thereby changing what was once a familiar face into an unrecognizable imaginary
“someone.” <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Arial Narrow"; font-size: 11.5pt; mso-bidi-font-family: Arial;">Change is a constant, inside and outside the body.
Sensory functions are defined as the extent to which an individual senses skin
stimulation, sounds, taste and smell, visual images, and proprioception. Senses
are transducers, converting stimuli from the physical domain to the realm of
the mind where we interpret the information. Thinking, thoughts, ideas,
opinion, judgment, belief – cogitation is a continuous process of evaluation
and selection. <i>Essence and Senses </i>speaks to an ever-changing world that
challenges our intrinsic nature, sensory functions, and perceptions of the
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& Design, with independent studies in France, Humanities at the University
of Toronto, and Philosophy at York University. Her practice extends from
two-dimensional collage to three-dimensional construction and site-specific
installation. Her use of materials and methodologies emphasize the working
process, recognizing material as tactile image and subject matter. She has
exhibited in Canada and abroad at galleries in Ontario, Nova Scotia, Italy, and
Germany. <b>Campbel</b>l was a member of <i style="mso-bidi-font-style: normal;">Workscene</i>
<i style="mso-bidi-font-style: normal;">Gallery and Artists Co-operative</i>, <i style="mso-bidi-font-style: normal;">Broadview Collective</i> (BVW), <i style="mso-bidi-font-style: normal;">The Red Head Gallery, The Tree Museum
Collective</i> (Toronto/Muskoka), and is currently a member of <b><i>loop </i></b>Gallery.
Her work is included in private, public, and corporate collections. <o:p></o:p></span></div>
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</i>Giclee print on Arches Watercolour 300g CP, pigment pen, acrylic ink,
22-carat gold leaf, 22" x 15", 2015</span><span lang="EN-US" style="color: #7f7f7f; font-family: "Arial Narrow"; font-size: 11.5pt; mso-bidi-font-family: Arial; mso-themecolor: text1; mso-themetint: 128;"><o:p></o:p></span></div>
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<!--StartFragment--><b><span lang="EN-US" style="font-family: 'Arial Narrow'; font-size: 14pt;">May 23<sup>rd</sup> – June 14<sup>th</sup> 2015 </span></b></div>
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Trent</b> entitled <i>Burden of Histories II.</i> <o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Arial Narrow"; font-size: 11.5pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">A Canadian-made
Victorian dining room table which has been in the centre of the artist’s family
house for 6 generations serves as a base for this exhibition. All 6
generations have traditionally gathered at this table on special occasions to
dine and discuss the concerns of the day. The installation titled <i>Burden of
Histories II</i> is a continuation of <b>Trent’s</b> 2009 installation <i>Burden
of Histories</i> and a dream snap of radically evolving values and circumstance
within a 150 year period. <o:p></o:p></span></div>
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graduating from the Ontario College of Art in the 80's, <b>Trent </b>went on to
exhibit her art, both nationally and internationally. She was a co-founder
of <i>Republic</i> and was a member of the Red Head Gallery in
the 1990s. She has had exhibits in commercial galleries such as Robert
Birch, Edward Day, Deleon White, Lonsdale and V.Macdonnell; in public
galleries including the Art Gallery of Clarington, Koffler Gallery,
Justina M. Barnicke at the University of Toronto, Robert
Langen at Sir Wilfred Laurier University, and the Robert McLaughlin Gallery in
Oshawa; and in various artist-run spaces; Artspace in
Peterborough, White Water Gallery in North Bay, Mercer
Union in Toronto, La Centrale in Montreal, and SAW
Gallery in Ottawa. She has been guest lecturer at Queen's University
in Kingston, Toronto School of Art, and the Ontario College of Art and Design.
Her work is in the collections of The Art Gallery of Ontario, CBC, University
of Toronto, and numerous private collectors.<o:p></o:p></span></div>
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conjunction with both <i>Republic</i>, Red Head, and with Visual
Arts Ontario, where she was the head of the Colour Reprography programme for
artists from 1994 to 1998. <o:p></o:p></span></div>
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<!--StartFragment--><!--EndFragment-->Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-31682899056456722702015-05-09T12:53:00.000-04:002015-05-09T13:18:09.144-04:00Arcadia: Paintings by David Holt at Loop, April 25 to May 17, 2015<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b><span style="color: red;"><span style="mso-bidi-font-weight: normal;"><span lang="EN-US">Arcadia:
Paintings by David Holt at Loop, April 25 to May 17, 2015</span></span></span></b></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"> </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeJis9NE3jLP1k33svYbvp4hZCVkb9oh7DvCQJk788WHoJmow4TLAbhLIHQ2DK78Gag9TcAkys7r7hDyqmMeLAIqc_2AzG1mAd7QKNWY05AFZBBvcCgFHgdW_1jckgYkfcwSmNib1yBhyI/s1600/DSC01352web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="627" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeJis9NE3jLP1k33svYbvp4hZCVkb9oh7DvCQJk788WHoJmow4TLAbhLIHQ2DK78Gag9TcAkys7r7hDyqmMeLAIqc_2AzG1mAd7QKNWY05AFZBBvcCgFHgdW_1jckgYkfcwSmNib1yBhyI/s1600/DSC01352web.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">David Holt, studio photo of works in progress, April 5, 2015</span><b><br /></b></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Bathers
as an Arcadian Theme</span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">I find it interesting the extent to which
Arcadian themes, particularly nudes in idyllic landscape settings, have
occupied Northern European and North American painters. Many 17<sup>th</sup>
century foreign painters working in Rome (e.g. Poussin, Claude) and subsequent
generations of others have been enthralled by the idea of a classical Mediterranean
golden age. In their paintings they have further developed the pictorial aspects of Arcadian themes
first established in antiquity and resurrected by Italian artists such as Giorgione,
Titian, Domenichino, Annibale Carracci, and others.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US"><span lang="EN-US">While earlier treatments of figures in
landscapes often had specific literary references (in keeping with the
Italian tradition of <i style="mso-bidi-font-style: normal;">istoria</i>
painting), other artists dispensed with
narratives, considering unidentified “<i style="mso-bidi-font-style: normal;">nudes
in a landscape”</i> or “<i style="mso-bidi-font-style: normal;">bathers”</i> sufficiently legitimate subjects for paintings. </span> </span></span></div>
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<tr><td style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><img border="0" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjuf8vULHcsgCKCAMHgD6Ye3gZ7GI-h3w4i9iP1mffr368ziLO-KdTPRCELg3Bw5imipJjQlMmodA1SqvajLR5kh30b7Mmpaz-hzrTa-ascjwJmDp0gu6RBraM8zW8K75DqZ8gJ6IVoc3R/s1600/b11600s+Cornelis+van+Poelenburgh+(Dutch%2Bartist%2C%2B1594-1667)%2BWomen%2BBathing%2Bin%2BLandscape-1.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></span></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"><span lang="EN-US"><i>Bathers</i> by Cornelis van Poelenburgh, a member of a group of Dutch and Flemish painters in Rome, known as the </span><i>Schildersbent.</i> He was in Rome from 1617-25.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"><span lang="EN-US">Gaspard Dughet (1615-1675). (Dughet was Poussin's pupil and brother in law). <i>Landscape with Bathers</i>, pen and brown ink and gray wash, on paper; 7 1/4 x 5 7/8 inches
(122 x 185 mm); Purchased by Pierpont Morgan in 1909.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Without narratives to suggest </span><span lang="EN-US"><span lang="EN-US">logical movements or gestures for the figures</span>, however, figure compositions can become challenging for painters. How does one orient the figures if they are not actually <i style="mso-bidi-font-style: normal;">doing</i> anything other than participating with the landscape in the composition? </span></span><style>
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<tr><td style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisBYCBdGEPGe7hsrNog1_V854taFkAVbHMt4q3Bm2W-_-upk69Isrpzn0vZPsUc6hhHfDzmmV_arcwOpXYcsidqIsvnRC8sWBouxgGSfghSVTnSHIFhoVFKCNCz6AFGVC7auM0MDvVON7E/s1600/512px-Paul_Ce%CC%81zanne,_French_-_The_Large_Bathers_-_Google_Art_Project.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisBYCBdGEPGe7hsrNog1_V854taFkAVbHMt4q3Bm2W-_-upk69Isrpzn0vZPsUc6hhHfDzmmV_arcwOpXYcsidqIsvnRC8sWBouxgGSfghSVTnSHIFhoVFKCNCz6AFGVC7auM0MDvVON7E/s400/512px-Paul_Ce%CC%81zanne,_French_-_The_Large_Bathers_-_Google_Art_Project.jpg" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Paul Cézanne, <i>The Large Bathers</i>, 1898-1905, Philadelphia Museum of Art</span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US"><span lang="EN-US">The particular ways in which a painter defines the figures' bodily characteristics, orchestrates the overall choreography of the figures with the landscape, and </span></span><span lang="EN-US"><span lang="EN-US"><span lang="EN-US"><span lang="EN-US">manipulates the paint (<i style="mso-bidi-font-style: normal;">métier)</i></span></span> become crucial to the sense of the painting and the formation of a visual
statement about our human place within the natural world.</span> </span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Paul Cézanne, detail, <i>The Large Bathers </i></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"> Willem de Kooning, <i>Self Portrait in the Wilderness</i>, 1947, oil and charcoal on board, 20 1/4 by 22 1/4 inches</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Milton Resnick, figures from the mid 1980s</span></td></tr>
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<tr><td style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzfNKWsXIOC3HOZQNEn4amHJkN97sdmAlKL8tMUK_lZMQcKBnWs1yZjtbkmi3PsQw9KyDTB0rFkvt-Np5qYcBdk_gHMqXYZXW9IHByOXPS8IPiPfZyBIAbIjTavPnNnw2DVBySMEY5h-Qa/s1600/1966-0318_(kat_150).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzfNKWsXIOC3HOZQNEn4amHJkN97sdmAlKL8tMUK_lZMQcKBnWs1yZjtbkmi3PsQw9KyDTB0rFkvt-Np5qYcBdk_gHMqXYZXW9IHByOXPS8IPiPfZyBIAbIjTavPnNnw2DVBySMEY5h-Qa/s640/1966-0318_(kat_150).jpg" width="640" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Jean Dubuffet, 1966</span></td></tr>
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</style><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Bathers as Nudes; Kenneth
Clark, <i>The Nude; </i>Arcadia and Eden</span></b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US"><span lang="EN-US">In his 1957 book, <a href="http://press.princeton.edu/titles/294.html" target="_blank"><i style="mso-bidi-font-style: normal;">The Nude</i></a>, Kenneth Clark posited three ideas that have been
important for me since I first read his book in the 1970s. First was his idea
of the nude having become more of a historical <i style="mso-bidi-font-style: normal;">form</i>
of art rather than just one of its many subjects. Second, was Clark's emphasis on the
nude figure’s potential as pure <i>visual design</i>. </span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"> </span></b></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Figured handle from an Etruscan <i>cista</i>, ca. 4th c. B.C.E.</span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US"><span lang="EN-US">Finally, he drew attention to depictions
of nudes, especially from the late Middle Ages and later, whose ungainly or
unusual proportions seemed to emphasize the <i>vulnerable</i><i style="mso-bidi-font-style: normal;"> </i>rather
than the heroic or idealized aspects of our human bodies, often with a corollary thematic shift from Arcadia to Eden.</span></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Adam and Eve, panel from the Bernward Doors, Hildeshiem Cathedral, 1015</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Adam and Eve, English Brislington Delft charger, 17th c. </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">David Holt, four small (approx. 10"x 8" each) paintings from <i>Arcadia</i>, Loop Gallery, installation photo, 2015</span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Bujinga (Nanga)---Japanese Literati Landscape Painting </span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Just as idyllic
Mediterranean landscape themes were elaborated by later artists from
other lands, a similar process took place in Japan during the late Edo
era when Japanese literati artists looked to ancient Chinese landscape paintings
for inspiration. </span></span></div>
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<tr><td style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCa6kJTywyQmM7nYijZo8WbdLS_RvGgvgv3Ld6SM9bqPLVovNYdVZfSdrEuFyKLb301gGApT7TONADouHmHC69SZG53RdLkp0Bie-CfZXmD4fv82inXRkETf2M3T-T-2N9yjmNDNAlhXOc/s1600/enjoyment-of-summer-scenery-1771.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCa6kJTywyQmM7nYijZo8WbdLS_RvGgvgv3Ld6SM9bqPLVovNYdVZfSdrEuFyKLb301gGApT7TONADouHmHC69SZG53RdLkp0Bie-CfZXmD4fv82inXRkETf2M3T-T-2N9yjmNDNAlhXOc/s640/enjoyment-of-summer-scenery-1771.jpg" width="627" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Yosa Buson, Enjoyment of Summer Scenery, 1771</span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Because direct contact with the ancient models was hard to come by, their knowledge of Chinese painting mostly came from whatever occasional
works might have found entry into Japan and also from printed woodblock painting
manuals such at the <a href="http://www.harvardartmuseums.org/collections/object/96667" target="_blank">Ten Bamboo Studio</a> manual (1619-33) and the <a href="https://archive.org/details/brooklynmuseum-o17617-mustard-seed-garden-a-chinese" target="_blank">Mustard Seed Garden</a> manual (1782) both then in circulation.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"><span lang="EN-US">page from the Mustard Seed Garden, a Chinese Painter's Manual, Brooklyn Museum</span></span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Although inspired by the Chinese masters,
their distance from those ancient originals seemed to have fostered in the
Japanese painters a certain freedom of invention. Of course the human references
in these paintings are typically provided by figures of scholars or poets. Here too the handling of the relationship between the
figures and landscape reveals the painters' ideas about the human place in the
natural order. The dynamic structural
brushwork used by these painters for both human and landscape elements (especially the </span><span lang="EN-US">imaginative calligraphic
foliage) </span>is something that has been
especially influential for me.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Tani Bunchō (1763-1840)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Uragami Gyokudō (1745-1820)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">David Holt, four small (approx. 5"x 5" each) landscapes from <i>Arcadia</i>, Loop Gallery, installation photo, 2015</span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b>Sources</b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">In addition to Clark's book, <i>The Nude</i>, a few other books have been particularly important for my work:</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="http://www.metmuseum.org/research/metpublications/Poussin_and_Nature_Arcadian_Visions" target="_blank"><i>Poussin and Nature: Arcadian Visions</i></a>, Pierre Rosenberg and Keith Christiansen, eds., 2008 </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="https://www.museodelprado.es/exposiciones/info/en-el-museo/roma-naturaleza-e-ideal/la-exposicion/catalogo/" target="_blank"><i>Roma. Naturaleza e Ideal. Paisajes 1600-1650</i></a>, exhibition catalog, Prado Museum, 2011</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><i>Paul Cézanne: The Bathers</i>, Mary Louise Krumrine, 1989</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><i>Scholar Painters of the Nanga School</i>, James Cahill, 1972</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><i>The Poet-Painters: Buson and His Followers</i>, exhibition catalog, Univ. of Michigan, 1974 </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><i>Japanese Painting in the Literati Style</i>, Yoshisho Yonezawa and Chu Yoshizawa, 1974</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span style="color: red;">The exhibition <b><i>Arcadia: Paintings by David Holt</i></b> continues at Loop until May 17.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span style="color: red;"><span style="color: black;">More paintings by David Holt can be seen at /<a href="https://sites.google.com/site/davidholtpaintings/" target="_blank">https://sites.google.com/site/davidholtpaintings/</a></span> </span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>David J. Holthttp://www.blogger.com/profile/03997675678551751984noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-26813573609693590832015-05-04T09:15:00.003-04:002015-05-04T09:15:50.850-04:00Q & A with Jane Lowbeer, April 19th<div class="separator" style="clear: both; text-align: center;">
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<br />Charles Hackbarthhttp://www.blogger.com/profile/09101789800903294132noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-77432553549939286812015-04-18T19:18:00.000-04:002015-04-18T19:18:32.285-04:00Q & A with Loop Artist Jane Lowbeer and Moderated by Rebecca Diedrichs : Sunday, April 19th<br />
Please join Jane Lowbeer for a Q & A with moderator Rebecca Diedrichs<br />
Loop Gallery <br />
Sunday April 19th from 2-4pm<br />
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<tr><td class="tr-caption" style="text-align: center;">Jane Lowbeer Three Men</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Jane Lowbeer <i> Man Walking Forward</i></td></tr>
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<br />Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-6434756436096801542015-04-17T13:02:00.000-04:002015-04-17T13:02:01.463-04:00Adrian Fish and David Holt show opening April 25th<span style="font-size: small;">April 25 – May 17, 2015 Opening Reception: April 25, 2015, 2-5 p.m. </span><br />
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<span style="font-size: small;">Adrian Fish The Aquaphilia Project IV: Critical Infrastructure </span><br />
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<span style="font-size: small;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7zSv8IaBjdsvX3_lmczCUcbLhqTMkaRuZvFoiwaJwelzyxaazFfP4X4u37_e-H5ax-ustOHdE4inP_xZ_clfbNStY2J79h1Kg_XO5zkU8wrdb3T7K0v7nMOVEDH1EvTwGGstMMUwEvh8/s1600/adrian-fish.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7zSv8IaBjdsvX3_lmczCUcbLhqTMkaRuZvFoiwaJwelzyxaazFfP4X4u37_e-H5ax-ustOHdE4inP_xZ_clfbNStY2J79h1Kg_XO5zkU8wrdb3T7K0v7nMOVEDH1EvTwGGstMMUwEvh8/s1600/adrian-fish.jpg" height="266" width="400" /></a>In
the fourth iteration of The Aquaphilia Project entitled Critical
Infrastructure, photographer Adrian Fish investigates contemporary
municipal wastewater treatment facilities. Our curiosity as to the fate
of what happens after we flush a toilet or turn on a tap is limited.
Seldom do we think about how different the nature of contemporary urban
life would be without water and wastewater treatment. The incredible
investment required in increasingly advanced technologies to safely
neutralize organic matter in the 21st century requires facilities rarely
seen. Fish's interest is in probing the aesthetics of the critical
infrastructure upon which we are entirely dependent. </span></span><br />
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<span style="font-size: small;"><br /></span>
<span style="font-size: small;">David Holt Arcadia </span><br />
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<span style="font-size: small;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR_j9FVTAQbkEo5tPqyMDvnqyVGD6jBkTdswOLcviRfzhUnxc102Pr1OjM3z_LHjS7XT_5KHUJAzYSGDh06VNNOFjizYUs03tZvA5dPKWBVD0PgNeN-M7v2rg_XTy2pi83y7CvCHyz7_s/s1600/holt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR_j9FVTAQbkEo5tPqyMDvnqyVGD6jBkTdswOLcviRfzhUnxc102Pr1OjM3z_LHjS7XT_5KHUJAzYSGDh06VNNOFjizYUs03tZvA5dPKWBVD0PgNeN-M7v2rg_XTy2pi83y7CvCHyz7_s/s1600/holt.jpg" height="320" width="272" /></a>Holt’s
small-scale paintings playfully depict idyllic landscapes, bathers, and
views of ancient architecture. His inspirations include 17th century
Italianate landscapes, ruins, and mythological paintings, as well as
late Edo era landscapes by Japanese literati painters. </span></span><br />
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<span style="font-size: small;">A
recipient of a painting grant from the Ludwig Vogelstein Foundation and
an artist’s residency at the Ragdale Foundation, Holt has exhibited
extensively and taught for many years in the US, where he chaired the
art department at Marymount College (later of Fordham University) in
Tarrytown, New York. Since 2005 he has lived and worked in Toronto,
teaching art at Upper Canada College.</span><br />
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<span style="font-size: small;">loop Thanks: AUDAXlaw Sumac.com</span><br />
<br />
<span style="font-size: small;">loop
Gallery 1273 Dundas Street West, Toronto, Ontario, Canada, M6J 1X8 (3
doors west of Dovercourt). Gallery Hours: Wed - Sat 12 to 5 pm, and Sun
1 to 4pm. Artist is in attendance on Sundays and for the reception. </span><br />
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<span style="font-size: small;">For more information please contact the gallery director at 416-516-2581 or visit: www.loopgallery.ca </span>Charles Hackbarthhttp://www.blogger.com/profile/09101789800903294132noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-65751762447211980272015-04-11T14:20:00.004-04:002015-04-11T14:20:53.600-04:00Don't Miss Q & A with loop Artists' Sheryl Dudley and Jane Lowbeer on April 19, 2015<b style="color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span style="font-family: 'Arial Narrow,Bold'; font-size: 14pt;">Sheryl Dudley</span> </b><span style="color: #7f7f7f; font-family: 'Arial Narrow,BoldItalic'; font-size: 14pt;">Time and Again</span><br />
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<span style="font-family: 'Arial Narrow'; font-size: 11pt;">As a follow-up to her 2014 show, </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 11pt;">Between Here and There, </span><span style="font-family: 'Arial Narrow,Bold'; font-size: 11pt;"><b>Dudley </b></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">continues to mine generations of family history discovered while preparing for a move. </span><br /><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">A stack of old boxes found in a closet reveal history, nature, and likeness in random photos dated from the 1920s through to the early 1960s. </span><br /><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">While many of the images she uncovered were documentary evidence of events and milestones, </span><span style="font-family: 'Arial Narrow,Bold'; font-size: 11pt;">Dudley </span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">chooses to focus on candid images and casual family gatherings. These natural interactions allow the subjects to shine through with authenticity. She re-photographs the originals and alters each in a way to suggest the marking of time and erosion of memory. Finally, the images are </span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">‘laid to rest’ in a forested setting derived </span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">from a series the artist shot in the Canadian Shield. </span></div>
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<span style="font-family: 'Arial Narrow,Bold'; font-size: 14pt;"><b>Jane LowBeer</b> </span><span style="color: #7f7f7f; font-family: 'Arial Narrow,BoldItalic'; font-size: 14pt;">Walking </span><br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWLD8L9nBZ6gXoXthMXLnNO8RfLJxNZAVfigR12cXbvxNa-sNt-XwA434lHFKNlBfMrY2TvCDxBKP_Z0pcVVOqqD12MVw7u20sCiXQNG05mys_tmLlAGvxnQG1b6UxaBBktf3Sn6rR5zST/s1600/LowBeer-web.jpg" imageanchor="1" style="clear: right; color: #888888; float: right; margin-bottom: 1em; margin-left: 1em; text-decoration: none;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWLD8L9nBZ6gXoXthMXLnNO8RfLJxNZAVfigR12cXbvxNa-sNt-XwA434lHFKNlBfMrY2TvCDxBKP_Z0pcVVOqqD12MVw7u20sCiXQNG05mys_tmLlAGvxnQG1b6UxaBBktf3Sn6rR5zST/s1600/LowBeer-web.jpg" style="border: 1px solid transparent; padding: 5px; position: relative;" width="320" /></a></div>
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<span style="font-family: 'Arial Narrow,Bold'; font-size: 11pt;"><b>LowBeer's</b> </span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">new series of oil paintings is a discourse in animating the landscape. A palette of greys, purples and greens, and the construction of push-and-pull render the figure over fields and bush. She plays with dimension; some paintings even wrap around a corner, or read sequentially like a book, as they defy the rectangle. </span><br /><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">This is </span><span style="font-family: 'Arial Narrow,Bold'; font-size: 11pt;">LowBeer's </span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">fifth exhibition at </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 11pt;">loop</span><span style="font-family: 'Arial Narrow'; font-size: 11pt;">. She studied printmaking at the venerated Atelier 17 in Paris and her work has won numerous prizes. Her art is found in private and public collections in New York, Paris, Montreal and Toronto including London's Victoria & Albert Museum and the Bibliothèque National de Paris, France. </span><br /><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><span style="font-family: 'Arial Narrow'; font-size: 11pt;"><br /></span><br /><div class="page" title="Page 1">
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<span style="color: grey; font-family: 'Arial Narrow,BoldItalic'; font-size: 11pt;">loop </span><span style="color: grey; font-family: 'Arial Narrow,Bold'; font-size: 11pt;">Thanks: AUDAXlaw Sumac.com </span><br /><span style="color: grey; font-family: 'Arial Narrow,BoldItalic'; font-size: 11pt;">loop </span><span style="color: grey; font-family: 'Arial Narrow,Bold'; font-size: 11pt;">Gallery</span><span style="color: grey; font-family: 'Arial Narrow'; font-size: 11pt;">1273 Dundas Street West, Toronto, Ontario, Canada, M6J 1X8 (3 doors west of Dovercourt).<br />Gallery Hours: Wed - Sat 12 to 5 pm, and Sun 1 to 4pm. Artist is in attendance on Sundays and for the reception.<br />For more information please contact the gallery director at 416-516-2581 or visit: www.loopgallery.ca </span></div>
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Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-21635085010521798152015-03-27T20:16:00.003-04:002015-03-27T20:16:31.445-04:00Loop Gallery Presents New Work by Artists Sheryl Dudley: Time and Time Again and Jane Lowbeer: Walking<div class="separator" style="clear: both; text-align: center;">
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March 28-April 19, 2015 <b>Opening Reception: March 28, 2015, 2-5 PM</b><br />
<b> Q & A: Sunday, April 19, 2015</b><br />
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<b><span style="font-family: 'Arial Narrow,Bold'; font-size: 14pt;">Sheryl Dudley</span> </b><span style="color: #7f7f7f; font-family: 'Arial Narrow,BoldItalic'; font-size: 14pt;">Time and Again</span><br />
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<span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">As a follow-up to her 2014 show, </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 11.000000pt;">Between Here and There,
</span><span style="font-family: 'Arial Narrow,Bold'; font-size: 11.000000pt;"><b>Dudley </b></span><span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">continues to mine generations of family history
discovered while preparing for a move.
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<span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">A stack of old boxes found in a closet reveal history, nature,
and likeness in random photos dated from the 1920s through to
the early 1960s.
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<span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">While many of the images she uncovered were documentary
evidence of events and milestones, </span><span style="font-family: 'Arial Narrow,Bold'; font-size: 11.000000pt;">Dudley </span><span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">chooses to focus
on candid images and casual family gatherings. These natural
interactions allow the subjects to shine through with
authenticity. She re-photographs the originals and alters each
in a way to suggest the marking of time and erosion of memory.
Finally, the images are </span><span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">‘laid to rest’ in a forested setting derived
</span><span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">from a series the artist shot in the Canadian Shield. </span><br />
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March 28-April 19, 2015 <b>Opening Reception: March 28, 2015, 2-5 PM</b><br />
<b> Q & A: Sunday, April 19, 2015</b><br />
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<span style="font-family: 'Arial Narrow,Bold'; font-size: 14.000000pt;"><b>Jane LowBeer</b> </span><span style="color: rgb(49.800000%, 49.800000%, 49.800000%); font-family: 'Arial Narrow,BoldItalic'; font-size: 14.000000pt;">Walking </span><br />
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<span style="font-family: 'Arial Narrow,Bold'; font-size: 11.000000pt;"><b>LowBeer's</b> </span><span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">new series of oil paintings is a discourse in
animating the landscape. A palette of greys, purples and
greens, and the construction of push-and-pull render the
figure over fields and bush. She plays with dimension;
some paintings even wrap around a corner, or read
sequentially like a book, as they defy the rectangle.
</span><br />
<span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">This is </span><span style="font-family: 'Arial Narrow,Bold'; font-size: 11.000000pt;">LowBeer's </span><span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">fifth exhibition at </span><span style="font-family: 'Arial Narrow,Italic'; font-size: 11.000000pt;">loop</span><span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;">. She studied
printmaking at the venerated Atelier 17 in Paris and her
work has won numerous prizes. Her art is found in private
and public collections in New York, Paris, Montreal and
Toronto including London's Victoria & Albert Museum and
the Bibliothèque National de Paris, France. </span><br />
<span style="font-family: 'Arial Narrow'; font-size: 11.000000pt;"><br /></span>
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<span style="color: rgb(50.200000%, 50.200000%, 50.200000%); font-family: 'Arial Narrow,BoldItalic'; font-size: 11.000000pt;">loop </span><span style="color: rgb(50.200000%, 50.200000%, 50.200000%); font-family: 'Arial Narrow,Bold'; font-size: 11.000000pt;">Thanks: AUDAXlaw Sumac.com
</span><br />
<span style="color: rgb(50.200000%, 50.200000%, 50.200000%); font-family: 'Arial Narrow,BoldItalic'; font-size: 11.000000pt;">loop </span><span style="color: rgb(50.200000%, 50.200000%, 50.200000%); font-family: 'Arial Narrow,Bold'; font-size: 11.000000pt;">Gallery<br />
</span><span style="color: rgb(50.200000%, 50.200000%, 50.200000%); font-family: 'Arial Narrow'; font-size: 11.000000pt;">1273 Dundas Street West, Toronto, Ontario, Canada, M6J 1X8 (3 doors west of Dovercourt).<br />
Gallery Hours: Wed - Sat 12 to 5 pm, and Sun 1 to 4pm. Artist is in attendance on Sundays and for the
reception.<br />
For more information please contact the gallery director at 416-516-2581 or visit: www.loopgallery.ca </span><br />
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<br />Anonymoushttp://www.blogger.com/profile/00582606444991841679noreply@blogger.comtag:blogger.com,1999:blog-606938443329241597.post-13880479560188021152015-03-25T22:00:00.001-04:002015-03-25T22:00:25.545-04:00 Check out Images of Sandra Gregson and Mary Catherine Newcomb’s March 22nd Guided Gallery Visit <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKr_IqeRQLxg4vJnO6c_TEs_FKZ4J2CMJr-lIx9qixkrBE3Zbz2c98oivEPeP19S4srPCASm2ZeM0tW6qNWPLba76xxGotfjkvzbpGWamjxndC87vw-vanZw_1kfQLQHkzev_FhiE7yMA/s1600/IMG_1206.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKr_IqeRQLxg4vJnO6c_TEs_FKZ4J2CMJr-lIx9qixkrBE3Zbz2c98oivEPeP19S4srPCASm2ZeM0tW6qNWPLba76xxGotfjkvzbpGWamjxndC87vw-vanZw_1kfQLQHkzev_FhiE7yMA/s1600/IMG_1206.JPG" height="640" width="432" /></a></div>
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