Posts Tagged ‘Toronto’

Mean Time to Upgrade at InterAccess

Hannah Epstein. Cock Fight, 2010; mixed media. Courtesy of the Artist and InterAccess. Photo: Robin Hamill Photography 2014.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Shauna Jean Doherty reviews Mean Time to Upgrade at InterAccess in Toronto. The exhibition Mean Time to Upgrade at Toronto’s premiere new-media art gallery, InterAccess, responds to the[…..]

Wynne Neilly: Female to “Male” at Ryerson Image Centre

Wynne Neilly. January 24th 2014-24th Shot, 2014; Fuji Instax Film; 4 ¼ x 3 ¼ in. Courtesy of the Artist and Ryerson Image Centre. Photo: Wynne Neilly.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Shauna Jean Doherty reviews Wynne Neilly: Female to “Male” at Ryerson Image Centre in Toronto. Through a collection of archival documents, personal photos,[…..]

Francis Bacon and Henry Moore: Terror and Beauty at the Art Gallery of Ontario

Henry Moore. Falling Warrior, 1956-57; 
bronze; 
65 x 154 x 85 cm. 
Tate Modern, London
 © The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

Francis Bacon and Henry Moore are known for producing curvilinear compositions and contorted human forms that often double back upon and swoop around themselves. In contrast, the Art Gallery of Ontario’s dual retrospective of the artists, titled Terror and Beauty, takes a distinctly linear approach. Passing over divergent biographical information about the artists (such as that Henry Moore was the son of a coal miner[…..]

Mike Nelson: Amnesiac Hide at The Power Plant

Mike Nelson. Quiver of Arrows, 2010; mixed media. Courtesy of The Power Plant

Recently, it seems that when Toronto’s mayor isn’t making headlines, the city’s overheated condo market is. Getting to Amnesiac Hide, Mike Nelson’s exhibition at The Power Plant, is an exercise in navigating the realities of this fervor. Queen’s Quay, the city’s so-called “revived waterfront,” is undergoing a makeover in the midst of rising condo towers, which makes for a messy route to the gallery. But[…..]

Nobuo Kubota: Sonic Scores at YYZ Artists Outlet

Schwoop. Bap. Tschk-tschk. Dom. Dung. No, the start to this review isn’t full of typos; it’s my attempt at onomatopoeia to capture the sounds that greet viewers at Nobuo Kubota’s YYZ exhibit Sonic Scores. Kubota is a Canadian multimedia artist who often uses sound in his work. His practice is inspired by an interest in jazz and Zen Buddhism, and Sonic Scores presents elements attributed[…..]

From the Archives – Postscript: Writing After Conceptual Art

Today we bring you an article from our archives, a review of Postscript: Writing After Conceptual Art. Author Caitlin Sutherland notes that the show “addresses the intersection of conceptual art and writing from a unique perspective. The use of the term after in the title does not necessarily reference a chronological narrative in which conceptual writing emerged from post-conceptual art. Instead, it may signify the relationship between the two[…..]

Geoffrey Farmer: A Light in the Moon at Mercer Union

One imagines that Geoffrey Farmer must go through millions of X-Acto knives a year. The Vancouver-based artist is known for his cutouts of images culled from books, magazines, and other printed material, which have been exhibited at Documenta(13) and at the Tate. In his new work Boneyard (2013), currently on view at Mercer Union, Farmer adapts his signature technique—excising  any traces of context through the[…..]