ABBOZZO GALLERY
ART EMPORIUM, THE
ART PLACEMENT
BAU-XI GALLERY (TORONTO)
BAU-XI GALLERY (VANCOUVER)
BAU-XI PHOTO
BECKETT FINE ART LIMITED
CANADA HOUSE GALLERY
CANADIAN ART GALLERY
CHRISTOPHER CUTTS GALLERY
CORKIN GALLERY
DARRELL BELL GALLERY
DOUGLAS REYNOLDS GALLERY
DOUGLAS UDELL GALLERY (EDMONTON)
DOUGLAS UDELL GALLERY (VANCOUVER)
EDWARD DAY GALLERY
ELISSA CRISTALL GALLERY
FEHELEY FINE ARTS
GALERIE ALAN KLINKHOFF INC.
GALERIE D'AVIGNON
GALERIE ELCA LONDON
GALERIE ERIC KLINKHOFF, INC.
GALERIE SAMUEL LALLOUZ
GALERIE SIMON BLAIS
GALERIE ST-LAURENT + HILL
GALERIE TROIS POINTS
GALERIE VALENTIN
GALLERY 78
GALLERY GEVIK
HARBOUR GALLERY
HERRINGER KISS GALLERY
JENNIFER KOSTUIK GALLERY
JULIE M. GALLERY
KINSMAN ROBINSON GALLERIES
LOCH GALLERY (CALGARY)
LOCH GALLERY (TORONTO)
LOCH GALLERY (WINNIPEG)
LONSDALE GALLERY
MARCIA RAFELMAN FINE ARTS
MASTERS GALLERY LTD.
MAYBERRY FINE ART (TORONTO)
MAYBERRY FINE ART (WINNIPEG)
MICHAEL GIBSON GALLERY
MIRA GODARD GALLERY
MIRIAM SHIELL FINE ART
NEWZONES GALLERY
NICHOLAS METIVIER GALLERY
NIKOLA RUKAJ GALLERY
ODON WAGNER CONTEMPORARY
ODON WAGNER GALLERY
OENO GALLERY
OLGA KORPER GALLERY
PATRICK MIKHAIL GALLERY
PAUL KUHN GALLERY
PETER ROBERTSON GALLERY
PIERRE-FRANÇOIS OUELLETTE ART CONTEMPORAIN
PRIME GALLERY
P|M GALLERY
ROBERTS GALLERY
RUMI GALLERIES
SANDRA AINSLEY GALLERY
SCOTT GALLERY
SHARON LONDON LISS
STEPHEN BULGER GALLERY
STUDIO 21 FINE ART INC.
THIELSEN GALLERY
TRÉPANIERBAER
TRIAS GALLERY
UNO LANGMANN LIMITED FINE ARTS
WADDINGTON GORCE INC.
WALLACE GALLERIES LTD.
WALLACK GALLERIES
WINCHESTER GALLERIES (OAK BAY AVENUE)
WINCHESTER MODERN
WYNICK/TUCK GALLERY
ZWICKER'S GALLERY


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.







The gallery is pleased to present our first solo exhibition of work by Duane Michals (b. 1932) including some of the fascinating works produced during a remarkable career of almost 50 years.

Raised in his birthplace of McKeesport, PA, Michals' interest in art began at the age of 14 while attending watercolour classes at the Carnegie Institute in Pittsburgh. In 1953 he received a B.A. from the University of Denver. After two years in the Army, during which time he served in the Korean War, he studied at the Parsons School of Design and planned to become a graphic designer but did not complete these studies.

In 1958, while on a holiday in the USSR, he became interested in photography and eventually became a commercial photographer, after having worked as an art director and designer, completing assignments for magazines such as Vanity Fair, Esquire and Mademoiselle. Unlike others at the time who operated out of lavish studios, this self-taught photographer made environmental portraits. These portraits would become the basis of his book entitled Album. In 1970 his work was the subject of a solo exhibition at the Museum of Modern Art in New York, and since that time his work has been exhibited around the world. The Carnegie Museum of Art will host a major retrospective exhibition in October of 2014.

A renowned innovator, Michals pushes the limits of photography. His early works presented images in series, at times narrated with text scrawled directly on the print, embracing each imperfection that may appear from this process. More recently, Michals has created hand-painted tintypes, modifying the images of amateur journeymen, emphasizing the “found object” quality of these images and questioning what he describes as “the museum photograph”.

His work has been exhibited widely in major institutions around the world and is found in many prestigious permanent collections. Amongst other honours, in 1993 Duane Michals was named an Officer of the Order of Arts and Letters in France.






Opening Reception: Saturday, Sept. 20, 1-4pm

Bradley Harms has been on the frontlines of the new wave of Canadian abstraction for several years. Harms pays close attention to the material aspect of his paintings, demonstrating a sense of technological awareness.

Harms’ practice has always utilized painting as a tool with which to address contemporary experience. When taking in one of Harms’ paintings, the viewer is subject to visual overload due to the tension between background and foreground, line and color. The overwhelming stimulus speaks to the sublime nature of the digital age. The analog application of these delicately modulated lines, intricate colour patterns, and complex systems trumps the manufactured aesthetic with the hand made. By referencing technology while not using it, the paintings become witness to the time in which they are made without relying on technology to get them there – forming a dialogue with the period, while maintaining a certain independence from it.

Born in Winnipeg, Manitoba, Bradley Harms received his Bachelor of Fine Arts from the University of Calgary in 1996 and his Masters of Fine Arts from the prestigious Art Institute of Chicago. His work has been exhibited throughout North America and Europe, and his paintings can be found in many international public collections such as the Canada Council's Artbank (Ottawa, ON), Alberta Foundation for the Arts (Edmonton, AB), the Nickle Arts Museum (Calgary, AB), University of Western Sydney (Sydney, Australia), Foreign Affairs + International Trade Canada (Ottawa, ON) and Glenbow Museum (Calgary, AB.










“We were biking in a park. The path was long, and the sun was shining, and after 30 or 60 minutes following the shade of the trees, we got lost. It was not that we lost our way, but that we lost our perception to the complexity of trees and the sky. We were lost because of the warmth of the sun, the greens of the trees, the white and blue of the sky, and the long wait that a winter seemed would have never ended, while suddenly summer arrived. We were lost because somehow life revealed itself to us and dominated us within its endless and unpredictable power. So, we lay under the bright sun and the trees. Being part of nature but with the outfit of civilization, we were eager to embrace what we were, and where we were from, and at the same time to feel lost in the insignificance of the present. We were longing for an origin, which might not be a country or a land, but a sea. For how far and how long we have been away from it - the sea, where life began. Taiwan is surrounded by sea. Whenever my 5 year-old son Shaore asked me how we get there, I have always responded “by airplanes”. The sea is a a barrier separating us from the piece of land we came from, not a carrier to bring us home. When we think of the concept of returning, it resides in the process of becoming: we are not going back, but we are becoming the land itself, defining our position as we hold each other’s hands, and looking into each other’s eyes as we search for traces of our life. We are a unit, and we are inseparable. One’s longing becomes the other’s longing, and one’s pain becomes the other’s pain. The work presented in this exhibition derives from the personal approaches of understanding the relation with nature and with family members while examining the construction of perception. Photography as the main medium is to experiment with the observation of quotidian experience, but it also serves as a failed attempt to grasp what might be seen but not yet captured. This body of works aims at pursuing the absence of origin and embrace the process of becoming. The work consists of three bodies of images: Sun Father Son, A Photo of Summer and Little Gestures. They work around a vague yet consistent intent of understanding one’s current position in relation to nature, to surroundings, to space, to origin, and to close family members. Instead of being rational this research is following a flow of unpredictable and subjective experiences. Repetition of gestures and examination of perception take important roles in the process while the surface of materials and the use of media form part of the narrative. The shared interests in the three series link each other to form the work in Distance to the Sea. Photography is a medium to examine the surface of the past in dialogue with the present, while multiple perceptions are formed in a way not to provide a fixed point of view but to propose a sense of losing orientation. The work proposes a process of rooting in the land, even if we are longing for the sea.” - Chih-Chien Wang












Odon Wagner Contemporary is pleased to present TRANSFIGURED: The High Bright Night of Bruno Kurz, our second solo exhibition of recent works by German contemporary artist Bruno Kurz. Opening Reception with artist: Thursday, October 2, 6-9 pm To RSVP to Reception: 416 962 0438 or caitlin@odonwagnergallery.com Bruno Kurz body of work is characterized by expressive paintwork in which cracked surfaces, layers of colour and trases of pastose serve as contrast to a metallic background. Horizontal layers provide the colours a clear compositional order. The remarkable body of work, in its harmonious entirety, is the opposite of the hyper-speeds of technology and celebrates a perceptual slowness at the heart of all true seeing. This is still a special kind of ancient and arcane technics, one focused organically and exclusively on sight and seeing. In almost every single painting the actual subject and theme is the transmission of light and its impact emotionally on the viewer. Actuality shines through. Depending on the incidence of light and position of the viewer, the paintings may be perceived in a variety of ways. The multiple viewpoints offered by the works are the hallmark of their vitality. Born in 1957 in Langenargen, Lake of Constance. He currently lives and works in Karlsruhe, Germany. Kurz spent many years of studying art abroad in Egypt, Mexico Asia and India. In 1984 he began his teaching career with Foundation of ART work, courses for adults. Since 1987 he has given various lectures including at the College of Education (Ka), Staatliche Kunsthalle Karlsruhe, the National Academy Schloss Rotenfels, and the European Art Academy in Trier.