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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.











The gallery is pleased to present the first Canadian exhibition of work by Gábor Kerekes (1945 – 2014.) This exhibition will focus on works from his best known series, Stars and Science.

Kerekes was a master at exploring photography in a particular style, so that art and science can be seen cohesively. Many of his photographs are of scientific instruments and items one would find in a laboratory. Other images by Kerekes trick the eye, taken with pinhole cameras, large format cameras and using antique developing methods, so the viewer believes they are straight photographs of planets and stars, while in reality, many are of everyday objects such as apples, tennis balls and lighting conductors.

His Hungarian parents emigrated to Germany due to the war, and Gábor Kerekes was born in Oberhart, Germany in 1945, however, his family returned to Hungary that same year. At the age of 19, he began apprenticing in the catering trade, ultimately becoming a waiter. He then studied photography and finally, in 1973, he qualified as a professional photographer. From 1974-1979 he was employed as a photographer for the Iron Industrial Research Institute. In 1982, he abandoned his career; ''I had grown tired of making images ordered by someone else,'' and chose to educate himself on the history of photography as well as astronomy, astrology and alchemy. Kerekes donated about 50 of his best photographs and their negatives to the Hungarian Museum of Photography and he destroyed the remainder. Between 19861991 he worked as a celebrated photojournalist. In 1990, almost 10 years later, he began making prints again and his style drastically changed from his earlier work. It was this second career in photography, one marked by provocative investigations and beautiful printmaking, that saw Kerekes become a major influence on his colleagues and a younger generation of Hungarian photographers.

Kerekes won the BalázsBéla Award and his work has been exhibited in Europe and the United States. In 1977 he became a founding member of the Studio of Young Photographers. In 1980 he joined the association of Hungarian Photographers and in 1981 became a member of the Dokumentum group. In 1995 he founded the ASA photo studio along with György Stalter. In 2005, he was a founding member of the +Műhely photography workshop. Until his passing in 2014 he was a lecturer at the Fotó Falu Projekt.

Kerekes’ photographs can be found at Galerie der Stadt, Esslingen; the Hungarian Museum of Photography, Kecskemét; the Musée de l'Élysée, Lausanne; the Museo Ken Damy, Brescia; the National Museum of Film, Television and Photography, Bradford; and in many important private collections.

Image credit: Perseid, 1993 © Gábor Kerekes, Courtesy of Kerekes Gábor Archíve and Stephen Bulger Gallery, Toronto








Oeno has curated a stunning show of new works on paper by several gallery artists. Often created quickly, they have an immediacy, a sense of intimacy and fluidity that other art forms sometimes cannot convey. Don Maynard is an established Canadian painter and sculptor who has had many exhibitions of his work in public galleries in Canada and the United States. Maynard has recently moved to Prince Edward County and Oeno is pleased to introduce his work. “Blue River” is comprised of over 50 small panels and is one of the highlights of this show. Internationally renowned printmaker Susan Collett has created new works that evoke the dreaminess and iconography of her travels to China. Ben Woolfitt’s new poignant and evocative works combine text, graphite and silver leaf, fragments of poems reflecting powerful emotions. Quebec artists are well represented in this exhibition. It includes rarely seen paper works by the late painter John Fox, small colourful watercolours by Jennifer Hornyak, and black and white works by Zhu Lan. The gallery is also introducing Quebec artist Catherine Farish. Her Notations is a series of small works printed on player piano rolls. One of the earliest works offered for sale in the exhibition is a rare and original illustrated boxed folio of The Journals of Susanna Moodie, arguably Margaret Atwood’s finest work of poetry. In it, she adopts the voice of Susanna Strickland Moodie, an English woman who came to live in the rural area near Peterborough, Charles Pachter illustrated the poems, and in 1980, 120 copies were hand-printed in a boxed edition which is now in public and private collections around the world. Only a very few remain available for purchase. Rounding out the show are works on mylar and paper by Alice Teichert and mixed media paperworks by Otto Rogers from the 1990s. The gallery also has obtained a few copies of the limited edition book on Otto Roger’s work (now out of print), each accompanied by a small original work - a great Christmas gift. And finally, there is a rare spectacular, monumental watercolour by long time Prince Edward County resident Robert Wiens.










This new series of paintings by Canadian Cree artist Kent Monkman carries forward themes from his previous narrative figurations, set against romantic North American landscapes stolen from Albert Bierstadt and other North American painters. Themes relating to historic and contemporary Native American experience such as colonization, sexuality, loss, and resilience, are now transposed against contemporary derelict urban backdrop. In dynamic compositions that merge myth, spirituality and art history, these paintings surge with an unconventional cast of players; tattooed Renaissance angels, Aboriginal thugs, vivid cubist figurations, spirit animals, and contemporary medicine men in beaded sports jerseys collide in tumultuous street scenes. Complex narratives depict a broad range of human emotion and experience: grief, violence, ecstasy, desire, and pity. Monkman has recently cast Modernist figurations (Picasso, Bacon, Moore) in his representational paintings as casualties of violence and disease. Both Picasso and Bacon created their figurations based on personal experience with the gruesome violence of war. The two dimensional quality of Picasso’s distorted cubist figures, and Bacon’s mutilations seem heightened in contrast to the sensual figures that Monkman has claimed from various influences in art history. In Monkman’s work, the Modernists’ flattening of pictorial space functions as a metaphor for Modernity’s compression of indigenous cultures. Inspired by old masters’ sensitive depictions of grief and lamentation, Monkman’s “Casualties of Modernity” are mourned or aided by young urban indigenous people. A generation of disenfranchised youth extend their condolences and empathy toward the less fortunate. Kent Monkman just received the Hnatyshyn Prize for excellence in the visual arts and the 2014 Indspire Award. His work can be seen currently in the United States at the Sante Fe Site Biennale until January 2015 and in France at the Musée d'art contemporain de Rochechouart until December 15.


































Opening Reception: Thursday, November 27, 5:30-7:30 pm Kevin Sonmor in attendance

Sonmor's iconic work pushes the boundaries between the historical conventions of landscape painting and the contemporary aesthetic of the abstracted landscape. An inspired student of Flemish painting, his visions are dark and atmospheric, yet filled with familiar still-life objects. These objects float through Sonmor's rich, painterly landscapes, creating powerfully intriguing works that hover between contemporary and historic painting traditions.

In his new body of work, "The Utilitarians", Sonmor muses on the conventions of historical subjects including marine, romantic landscapes and vanitas still-lifes. Sonmor uses these familiar historical practices, though slightly shifting many of their known properties, such as colour or space. The resulting paintings celebrate these historical subjects, in today's culture. Sonmor captures the feeling of Northern European still-lifes and Vanitas studies, rendering images in hues and shades of feeling while still carrying a distinctive contemporary edge.

Mark Daniel Cohen, a New York City-based artist/writer wrote of Sonmor's paintings: "…Sonmor paints with the certain craft of a master, with the sure touch of a virtuoso, not for the sake of the pride in technique but for something more imperative: for the efficacy of the art, for the sake of what art is for — the penetration through to a truth of our essential nature that we realize but cannot hold for more than the briefest moment."

Born in Lacombe, Alberta, Kevin Sonmor completed his MFA at Concordia University in Montreal in 1991. Since then, he has exhibited widely across Canada, the US, andmore recently, Europe. Along with several exhibitions in established commercial galleries, Sonmor has enjoyed solo exhibitions in many public galleries and museums including University of Waterloo, Mendel Gallery in Saskatoon, the Art Gallery of Mississauga and most recently at Sherbrooke Museum of Fine Arts in Quebec. Sonmor is currently having a solo exhibition at the Art Gallery of Grande Prairie in Alberta. He is a recipient of numerous Canada Council Grants and his work may be found in many private and public collections including the University of Waterloo, Art Gallery of Algoma and Government of Canada.