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.
Born in Winnipeg, Manitoba Canada, David Burdeny has degrees in Interior design and a Masters in Architecture. Primarily self taught, his architecture and design backgrounds greatly influence his penchant for simple exacting photographs of sky, horizon and the marks humankind leaves behind. Describing his photography as ‘discovery driven,’ Burdeny has travelled to places including Antarctica, Iceland, Brazil, China, France, Italy and Cambodia in pursuit of his work. Influenced by notable photographers such Michael Kenna, Hiroshi Sugimoto and Fay Goodwin, David purposefully photographs in poor light and near darkness. He uses unusually long exposures to see that which our eyes cannot. Moving beyond the literal, his images have been described as ominous, haunting, beautiful and meditative.
Burdeny’s work has been exhibited internationally in numerous solo and group exhibitions. He is the recipient of notable photography awards including Photographer of the Year in the Nature Category at the International Photography Awards. Burdeny’s work has been extenstively collected and is included in both private and corporate collections.
The gallery Pierre-François Ouellette art contemporain is proud to present a series a new drawings by Ed Pien whose Ad Infinitum is currently featured in Shine a Light at the National Gallery of Canada.
Relinquishing the comforts and habits of the known, his imagery and his processes reveal the risks and rewards of traversing the territory of the unknown. Rather than adopt an illustrative approach, Pien works spontaneously. No preconceived image is held; each line begets the next, necessitating a leap of faith on the part of the artist. The images generated through this organic process capture the immediacy of his linear gestures and the fluidity of his brushwork in a highly expressive visual field. Pien’s imagery conjures a fantastic and disturbing universe. His all-over ink and gouache compositions are brimming with mutant monsters, hybrid creatures and celestial beings — angelic and demonic — summoned from his subconscious. Blue giants, greenhaired witches, menacing night-walkers, shamanistic puppet-players, winged figures with bulging eyeballs, two-headed teddy bears and other similarly tragic Halloween-types inhabit these interior worlds. In each of the artist’s vignettes, an event instigated by one of the antagonists unfolds before the viewer, the activities often carrying on beyond the edges of the paper. Allusions to various forms of social transgression and power imbalances persist, accentuating the vulnerability of the body and the psyche. Playful, provocative, sensual and sinister, Pien’s drawings elicit and mirror the anxieties, fears and desires that issue from the depths of our being.
LINDA NARDELLI & DIANA ZASADNY
Inner Landscapes
Preview of Show: Thursday, April 16, 2015
Opening reception: Saturday, April 18, 2015 : 2 -5 PM
Show continues through to April 30, 2015
Artist Statement:
Linda Nardelli and Diana Zasadny are artists that paint what they feel. They bring to life in abstract and impressionism the sensory element of what they behold in their surroundings—exploring landscape, the sea, and the spirit of trees. Both Artists’ works have a compelling nature that invoke a deep sense of peace, beauty and refinement, as they merge personal experience with visual integrity. These artists create visual stories depicting the incredible sensitivity that nature emits, provoking in the viewer a deepening experience of their own visual senses.
Fredericton artist Stephen May paints throughout the year, in season, from his home and studio. He captures the beauty of the everyday, the change of the seasons, the movement of the air around the objects in his sight, both indoors and outdoors, both natural and human-made. Viewing a painting by Stephen May is to be transported to a moment in time, captured in paint. Come view these various moments in time over the course of “One Year” The exhibition begins January 9th and will be celebrated on January 23rd with live painting demonstrated by Stephen May as part of the Frostival festivities. Stay tuned for more details. Gallery 78, 796 Queen St. (corner of Church and Queen), Fredericton Open: Tues to Fri 10am-5pm, Sat 10am-3pm, Sun 1-4pm or visit virtually at: www.gallery78.com
The Group of Seven unarguably holds the most far reaching reputation of all Canadian painters. Focusing on depicting the Canadian landscape from 1920 to 1933, the group originally consisted of Franklin Carmichael (1890–1945), Lawren Harris (1885–1970), A. Y. Jackson (1882–1972), Frank Johnston (1888–1949), Arthur Lismer (1885–1969), J. E. H. MacDonald (1873–1932), and Frederick Varley (1881–1969). In 1926 A. J. Casson (1898–1992) was invited to join. He was later followed by Edwin Holgate (1892–1977) and LeMoine FitzGerald (1890–1956). During the month of January, we will be showcasing works by A.Y. Jackson, Frederick Varley, AJ Casson and Frank Johnston, alongside a number of lesser known, but equally important Canadian painters of the 20th Century.
Preview of Show: Thursday, May 7, 2015
Opening reception: Saturday, May 9, 2015: 2 -5 PM
Show continues through to May 20, 2015
WABI SABI/DARK MATTERS
According to chaos theory, general trends in the universe can be predicted by observation. However specific events cannot be predicted because they rely on an infinite number of unknown variables along the way. How very much like painting.
The dilemma: how to get from here (the chaos and excitement of the un-manifested vision) to there (the specific finished painting).
How to create a painting from a ‘chaos theory’ kind of process: a process that sometimes seems to thwart its own directions, that refuses to be predictable, that requires foresight to exploit unexpected accidents, that requires an occasional outrageous gesture to keep a piece vital……….but that also requires the courage to sacrifice small gems to the unity of the whole. Yet somehow, against the odds, a painting must feel inevitable and somehow finished in its final form.
THESE NEW WORKS
The ‘chaos’ struggles described above are certainly inherent in these new paintings. They are inspired by the spirit of the Wabi Sabi aesthetic/philosophy, an off-shoot of Buddhist thought. Wabi Sabi maintains three basic tenets: nothing is finished, nothing lasts, nothing is perfect.
The migration and settlement of the English in North America in the 17th to19th centuries was marked by noticeable shifts in power, the discovery of important resources, and the struggle for survival in a harsh climate. These elements, and the series of events they led to, left a lasting impression on our landscape and its peoples. Artists were present throughout the building of our nation, and for that reason we have documentations and creative renderings of each stage of our history. This exhibition will highlight breathtaking examples of moments caught by the brush of John Innes, William Armstrong, Robert Whale, James Henderson, Thomas Mower Martin, amongst others.
With so much talk in Toronto about subways, Stephen Bulger Gallery offers a photographic perspective on the subject.
Through the use of historical and contemporary photographs, we celebrate the ingenuity and culture of subways. Since the late 19th Century, cities have turned to tunnelling to transport their ever growing mass. Efficient, claustrophobic, worn down and constantly updated, for many city dwellers subways are a necessary part of their daily lives. Transporting oneself underground seems both otherworldly and commonplace; it is a place where solitude is often felt strongly.
This exhibition features work by unknown photographers hired to document the building of the Brooklyn Rapid Transit Co. in New York. Their work is surrounded by photographs taken by a number of known photographers. This theme of construction is complimented by Vid Ingelevics’ photograph made in the Toronto Transit Commission’s Museum Station proudly showing its yellow ceramic tiles that are so familiar to Torontonians. These tiles were replaced with a station re-modification that more obviously echoed its proximity to the Royal Ontario Museum.
Adam Magyar’s steely large scale portraits of New York subway cars from his series “Stainless” are represented, and during the exhibition in our cinema space called CAMERA, we will screen one of his “Stainless” video works. These renowned videos use a high-speed quality control camera used in mass production for capturing fast-moving objects and put it into a human context to speak about our urban world and people living in an urban life.
Bruce Davidson’s haunting colour environmental portraits made in 1980 and published as SUBWAY (St. Ann’s Press, 2003), have been released as an edition of Dye Transfer prints. A selection of Davidson’s famed portraits are shown opposite a suite of Michael Wolf’s celebrated portraits of commuters called “Tokyo Compression”, part of his mammoth project called “Life In Cities”.
A set of film stills from The Warriors, directed by Walter Hill and released in 1979 are displayed across the gallery from a salon of vignettes covering more than 100 years of scenes seen underground while riding the subway. This salon wall includes work by unknown photographers, as well as photographs by Dave Heath, André Kertész, William Klein, Luis Mallo, Jamel Shabazz, Kazuo Sumida, Alexey Titarenko and George S. Zimbel.
Image Credit: Fun, Fun, Montreal Metro, 1987 © George S. Zimbel / Courtesy of Stephen Bulger Gallery
Preview of Show: Thursday, March 5, 2014
Opening reception: Saturday, March 7, 2015: 2 -5 PM
Presentation by Katherine Ylitalo at 2PM
Show continues through to March 18, 2015
Kenneth Lochhead: Colour Spaces is an exuberant reflection of Lochhead's life-long love affair with colour. Colour saturates the large abstract canvases of the 1960s, and dances across the landscapes of later years. Representation and abstraction were, for him, simply different aspects of the artist's vocabulary. Plastic form, with its elements of colour, light, line, and space, was the essence of coherent visual expression.
From 1950, when he was appointed Director of Regina College's art school, to his death in 2006, Lochhead participated in over 300 national and international exhibitions and received over 18 major Canadian and international art commissions.
He was honoured with the Order of Canada in 1971, an Honorary Doctor of Laws from the University of Regina in 2001, and the Governor-General's Award in Visual and Media Arts in 2006. Through painting he found his own expression for love, joy, and the celebration of life.
Tom Burrows received a B.A. in Art History from the University of British Columbia in 1967, and continued post-graduate studies at St. Martin's School of Art, London, England until 1969.
Burrows has had solo exhibitions in London, Rome, Tokyo, Berlin, New York, Edinburgh and across Canada. In 1999 Burrows' work was included in survey exhibitions of Canadian art at the Vancouver Art Gallery, Glenbow Gallery in Calgary, and the Windsor Art Gallery in Ontario. He has been awarded grants by the Canada Council, Ontario Arts Council, Japan Canada Fund, and the BC Arts Council. Burrows' most prominent medium is cast pigmented polymer resin with which he creates subtle, luminescent abstractions. Brilliant colour fields, sometimes transparent, sometimes opaque, give the illusion of a panel lit from within. Tom Burrows' work is held in private, corporate, and public collections in Europe, Asia and the Americas.
On Saturday, January 31st, Mira Godard Gallery is pleased to open an exhibition of new paintings and monoprints by STU OXLEY.
STU OXLEY was born in 1950 in Ramsbottom, England. He received a B.A. from the University of Guelph in 1978 and a Master of Fine Arts degree from the University of Waterloo in 1996. Oxley is a well-respected master printer and owner of Riverside Studio in Elora, Ontario where he has worked with a number of prominent Canadian artists. Since 1998, he has been teaching drawing and printmaking at Georgian College in Barrie, Ontario.
STU OXLEY has received several awards including the Ernst and Young "Canadian Printmaking Competition" prize (1996). His work has been exhibited nationally and internationally and is in numerous public and private collections throughout Canada, United States and Europe including: Art Gallery of Hamilton; Art Gallery of Ontario, Toronto; MacLaren Art Center, Barrie; Nickel Arts Museum, Calgary; Tom Thompson Gallery, Owen Sound; Bank of Montreal; Borden Ladner Gervais; CIBC and Canadian Pacific.
STU OXLEY lives and works in Elora, Ontario.
To arrange an interview with the artist, or for more information, please contact the gallery at (416)-964-8197, via email: godard@godardgallery.com, or visit: www.godardgallery.com.
Alex Cameron studied at the New School of Art under Graham Coughtry, Gordon Rayner, Dennis Burton and Robert Markle. His involvement in the arts community was further solidified through positions working as Jack Bush’s studio assistant, a preparator at the Art Gallery of Ontario, at the David Mirvish Gallery, and by maintaining an ongoing close relationship with Clement Greenberg.
Cameron has been exhibiting since 1971, and was included in the important and prestigious group shows: ‘Four Toronto Painters’ at the Art Gallery of Ontario, 1976, and ‘14 Canadians’ at the Hirshhorn Museum, Washington, 1977. In 1985, he was the subject of a major exhibition at the Robert McLaughlin Gallery, Oshawa: ‘Alex Cameron In Mid-Career’, a retrospective of the first 13 years of his career. He has been widely reviewed in such publications as The Globe and Mail, Arts Canada Magazine, D’Art International, The Toronto Star, Toronto Life, Art Post, Edmonton Journal, Calgary Herald and The ARTnews. Cameron’s painting career was also recently surveyed in Roald Nasgaard’s ‘Abstract Painting in Canada’.
Alex Cameron’s current artwork displays the virtuosity of an artist in his prime as he continues to create new bold, colourful landscapes that have developed from his abstract practice.
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.
Pierre-François Ouellette art contemporain is proud to present new paintings by Kent Monkman. In keeping with earlier works that explore the mythologies of Western culture illuminating truths about European colonization of North America, Monkman casts his alter ego in the roles of four powerful and mythological females: Danae, Leda, Minerva and Helen of Troy. Against the lush backgrounds of romantic landscapes, Monkman employs the allegorical and sensual language of classical painting to condemn the violation of the land and First Peoples of North America. Borrowing ancient parables from Western cultures as lessons against deception and disguise, Monkman’s paintings reference the lies, failed promises and broken treaties perpetrated by the Canadian and US Governments against indigenous people.
--
Kent Monkman is a Canadian artist of Cree ancestry who works with a variety of mediums, including painting, film/video, performance, and installation. He has had solo exhibitions at numerous Canadian museums including the Montreal Museum of Fine Art, the Museum of Contemporary Canadian Art in Toronto, the Winnipeg Art Gallery, Woodlands Cultural Centre and the Art Gallery of Hamilton. He has participated in various international group exhibitions including: The American West, at Compton Verney, in Warwickshire, England, Remember Humanity at Witte de With, Rotterdam, the 2010 Sydney Biennale, My Winnipeg at Maison Rouge, Paris, and Oh Canada!, MASS MOCA. Monkman has created site specific performances at the McMichael Canadian Art Collection, Denver Art Museum, The Royal Ontario Museum, and at Compton Verney, he has also made Super 8 versions of these performances which he calls “Colonial Art Space Interventions.” His award-winning short film and video works have been screened at various national and international festivals, including the 2007 and 2008 Berlinale, and the 2007 Toronto International Film Festival. His work is represented in numerous public and private collections including the National Gallery of Canada, Musée d'art contemporain de Rochechouart (France), Musée des beaux-art de Montréal, Musée d'art contemporain de Montréal, Art Gallery of Ontario, Museum London, Woodland Cultural Centre, The Glenbow Museum, Indian Art Centre, Robert McLaughlin Gallery, Mackenzie Art Gallery, the Art Bank of the Canada Council, Smithsonian/National Museum of the American Indian, Vancouver Art Gallery, Fondation de la Maison Rouge(Paris), Rideau Hall (Ottawa), The Logan Collection/Denver Art Museum and Hart House/University of Toronto. In January 2015, he will unveil his installation Casualties of Modernity in the BMO Financial Group Project rooom in Toronto
Works by Krieghoff, Suzor-Côté, Maurice Cullen, Henri Beau, Marc-Aurèle Fortin, Henrietta Mable May, Anne Savage, André Biéler, Fritz Brandtner, Pierre Gauvreau, Jean Dallaire, Borduas, Shadbolt, Riopelle, Lise Gervais, Bellefleur, Surrey, Lesauteur.
http://www.galerievalentin.com/exhibitions-133.html
These images were made over a three year period while visiting architectural theme parks in Nikko, Japan and Shenzen China. The images achieve impossible focus by layering anywhere between ten to twenty frames of shallow focus into one sharply delineated frame. They utilize layered illusion with assumed reality, with apparent or perceived reality. When closely examined, the subjects are obviously not real, but they are close enough to be suspicious.
David Burdeny has both a degree in Interior Design and his Masters Degree in Architecture. This background is evident in every Burdeny image, with his strong sense of structure, horizon, balance and space. David retired from Architecture in 2009 to focus entirely on his photography career and has seen much success. Since 2003, he has been in over 60 solo and group shows and has representation in top galleries around the world. His work has been featured in publications such as Canadian Art, Elle Décor, Canadian House & Home, Canadian Architect and PhotoLife, just to name a few. He is the recipient of many awards including the prestigious Landscape Photographer of the Year at the Lucie Awards in New York City in 2008 for his series “North/South” which documents the fragile shorelines and monolithic ice formations of Antarctica and Greenland.
Bobbie Burgers is an internationally recognized artist, well known for her large scale paintings possessing strong, assured brush work and a keen contemporary sense of colour. Her work possesses a lusciousness; smooth yet wild textures and colours command the viewers attention and portray her subjects as fleeting moments in time. Believing that the tragedy of beauty is its inevitability to fade, Burgers’ work delves into complex and evolving ideas surrounding life and the contradictions that exist within it.
According to art critic Dorota Kozinska: "Her subject matter never feels excised from nature, but rather breathed in and exhaled as art. Unstructured, bold, her textured paintings reveal layers of emotions, with brushstrokes gliding across a canvas like a caress, exposing dimensions of color and tone that subvert the nature of the flower, transforming it into a painterly landscape of abstract proportions. Expressionistic, unencumbered, her large acrylic paintings belong to a contemporary school of art, and within it, to Bobbie Burgers alone."
