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The Art Dealers Association of Canada Inc. (ADAC) is a national not-for-profit organization founded in 1966. ADAC is the only National Association of art dealers representing artists throughout Canada. ADAC maintains a high standard of connoisseurship and adherence to ethical practice within the profession. Dealers are selected for their knowledge and scholarship in their respective fields of expertise.

The ADAC mandate includes stimulating the art market in Canada, and encouraging the awareness of the visual arts both nationally and abroad.















Please join us for the opening reception of Myth and Mystique: The Art of Malcolm Rains, our first solo exhibition for the renowned Canadian contemporary artist, on Saturday, May 7th from 2-5 pm.

It's not only that Malcolm Rains is a master of many styles and that each one looks the way a spoken dialect in language sounds: he is in fact a master stylist, period. Each of his motifs belongs to a broad and deep painting territory which he traverses and revisits the same way we can return to Rome or Athens to follow our own footsteps and yet still feel it's a first time encounter. There's something hauntingly familiar, gently reassuring and yet utterly otherworldly in the way this artist can explore major subjects over a long term career trajectory.

One such subject is a domain he has confidently commanded for over a decade, the kind of crisp representation I can only call objective portraiture. Whether it's the way fruit occupies space on a table, or the way light is refracted from a glowing metallic surface of pure colour, or the way creased paper can assume the awesome stature of a mountain, one recursive element remains shared by them all: optical splendour and its transmission.

These new images by Rains, all meticulously rendered in oil on linen in the precise manner which has become one of his signature styles, and all breathtakingly beautiful, also call into question any artificial barriers or boundaries between the formats and themes of art history as we've become accustomed to it. They offer us instead the fabula of a non-localized reality.










Some of us are armchair travellers and some of us have circled the globe. We all have different experiences when we go "abroad" and we all come back with new insights, new imaginings, and often a plan for the next adventure! In the late 1950s Bruno and Molly Lamb Bobak earned travel fellowships to voyage with their children through Europe where they sketched and documented their experiences. Life long influences from rich artistic communities, exchanging ideologies with fellow painters and exploring new landscapes profoundly changed Bruno. For Molly it was the beginning of her long series of crowd scenes. Victoria Moon Joyce has travelled and worked throughout Canada. Here she pays homage to Saskatchewan. Amber Leger was invited to exhibit her work at la francophonie Summit in Paris. She was enthralled by the crowds on Butte Montmartre. Ann Manuel is interested in process. In these images she is "leaving space" and playing with how we leave places and spaces, anticipate travel and the ways in which we tend to remember pieces of our experiences through photos. David McKay is interested in his roots. His interest is often rooted in New Brunswick but he recently travelled to Scotland and Ireland where he delved even deeper into the family history and enjoyed the landscape of his ancestral roots. Réjean Roy travels for his art and he captures it all en plein air. Réjean has chosen Peggy's Cove, NS, Killarney Provincial Park, ON and the Dominican Republic for these latest pieces. Often a part of travelling involves walking. Mary White's "Walking Pots" are a perfect fit for this part of the travel experience. Take a piece of the world home with you!














The gallery is pleased to present “Survey”, our first solo exhibition of work by American photographer Joel Meyerowitz.

Meyerowitz, born in 1938 in New York City, began taking photographs in 1962. Although he has always seen himself as a street photographer in the tradition of Henri Cartier-Bresson and Robert Frank, he transformed the genre with his pioneering use of colour. As an early advocate of colour photography in the mid 1960’s, Meyerowitz was instrumental in changing the attitude toward the use of colour photography from one of resistance to nearly universal acceptance.

This exhibition displays a selection of key black and white images from early works that captured the attention of influential curators. Also included are early colour works from Europe in the late 1960’s and early 1970’s, which illustrate his mastery of composing with colour as well as form. Pivotal images from Meyerowitz’s famed series “Cape Light” illustrate his ability to transform the elements of light and colour into content. Lastly, a suite of recently commissioned works of objects in the Morandi Studio reveal a photographer still in his prime.

He is the author of over a dozen photography books, including Cape Light, New York Graphic Society, 1978; The Arch, New York Graphic Society, 1988; Redheads, Rizzoli, 1990; Joel Meyerowitz (Phaidon 55’s), Phaidon Press, 2001; Aftermath, Phaidon Press, 2006; Legacy: The Preservation of Wilderness in New York City Parks, Aperture, 2009; and Taking My Time, Phaidon Press, 2012. Images from the publication Aftermath were taken when Meyerowitz was the only photographer to be given unimpeded access to Ground Zero in the wake of 9/11. The images he captured formed the foundation of a major national archive and an exhibition of selected images, which has travelled to more than 200 cities in 60 countries.

Meyerowitz has lectured at institutions such as the New York Public Library; New York Institute of the Humanities; Library of Congress, Washington, D.C.; Jeu de Paume, Paris; as well as many Colleges and Universities throughout the United States. His work has been written about in publications such as ARTnews, The Boston Globe, The New Yorker, The New York Times, The Washington Times, Vogue, Harper’s Bazaar, and People Magazine. In 2002, Meyerowitz represented the United States at the Venice Biennale for Architecture. He has been the recipient of over a dozen awards, including the Guggenheim Fellowship and the Deutscher Fotobuchpreis. His work can be found in many major public collections, including the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Whitney Museum of American Art, New York.








Along with Jack Bush, William Perehudoff is one of the most celebrated Canadian Colour Field painters of his generation.

Beginning his career in the early 1940s, Perehudoff carried on a dialogue with American Colour Field and European abstract movements. By 1949, he was studying in New York with Amédée Ozenfant, who founded the Purist Movement with Le Corbusier in 1918.

In 1962, Perehudoff met Clement Greenberg, the most important art critic in the New York School of Painting. As a result of his meetings with Greenberg in New York and at the Emma Lake Workshops in Saskatchewan, a shift in Perehudoff’s painting took place and his focus turned to formalist abstraction.

Throughout his career, Perehudoff received accolades in commissions, exhibitions and awards, including exhibitions at the Noah Goldowsky Gallery, New York, the Hirshhorn Museum and Sculpture Garden, Washington, DC, Meredith Long Contemporary, New York, and several exhibitions at the Mendel Art Gallery, Saskatoon. Perehudoff continued to receive several honors in the 1990s and 2000s. He was a member of the Order of Canada and the Royal Academy of Art, held an Honorary Doctorate of Laws from the University of Regina, received the Saskatchewan Order of Merit and was awarded the Queen’s Diamond Jubilee Medal.

In 2010, Perehudoff was the focus of a full-scale traveling retrospective organized by the Mendel Art Gallery, Saskatoon, Saskatchewan, curated by Karen Wilkin, esteemed art critic and the foremost expert on Colour Field painting. In her essay, Wilkin writes, “Perehudoff’s abstractions (…) are self-evidently autonomous constructions in the language of paint, deliberately detached from explicit reference. Their aim is plainly not to replicate appearances but rather to stir our emotions through wordless relationships of colour, eloquent intervals, thoughtfully deployed shapes, and nuanced surfaces.”