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.
Newzones is pleased to present an exhibition of new photos by Joshua Jensen-Nagle.
A process-oriented artist, Jensen-Nagle’s photographs are altered multiple times, through means of applying paint, submerging prints into tanks of dyed water, and photographing through filters such as glass, to name only a few. Each time the resulting photo is altered, it is reshot again, to the artist’s satisfaction. The final product is distorted, through Jensen-Nagle’s many manipulations.
The soft crunch of skis through powder. The vast, blank canvas of the mountains. The trees subdued by the weight of snow. The drifting strains of…hair metal? Joshua Jensen-Nagle is able to evoke all this and more as he brings his “Alpine” series to Newzones, firmly stamping all that is campy and fun onto our Rocky Mountain landscape.
Jensen-Nagle has recently been featured in Photolife (2010), National Post (2010), Galleries West (2010), and Canadian House and Home (2009). His artwork has been collected world wide, including Cirque de Soleil, Ryerson University, First Energy Petroleum Ltd, Master Card International and Talisman Energy. Jensen-Nagle also participated in Glenbow Museum’s exhibition “Through the Looking Glass” in 2008.
Presented in collaboration with Paris’s Galerie Lelong, the exhibition Red and Black spotlights the most recent work from the internationally recognized artist David Nash. He is fond of contrasting the two colours in his latest wood sculptures, and they are a dominating force in his new drawings and pochoirs. In them, bright red ignites the deep black of charred wood, a medium that is emblematic in Nash’s work.
Born in Esher, England in 1945, David Nash lives and works in the northern Welsh town of Blaenau Ffestiniog. He studied at the Kingston College of Art (1963–64), Brighton College of Art (1964–67) and Chelsea School of Art (1969–70). Among many other places, his work has been exhibited in Great Britain, the United States, France and Japan, and can be found in the collections of a number of major museums, including those of London’s Tate Gallery and New York’s Guggenheim Museum and Metropolitan Museum of Art.
Featuring works by: Carl Beam, Bob Boyer, Blake Debassige, Alex Janvier, Joshim Kakegamic, Glenna Matoush, Daphne Odjig, Jane Ash Poitras, Carl Ray, Rick Rivet, Roy Thomas, and Angus Trudeau.
Newzones is pleased to present Perception as part of Exposure 2012: Calgary / Banff / Canmore Festival of Photography.
Perception is an exciting presentation of Newzones’ process-driven and photo-based artists, curated to showcase the methods that are employed in their creative process.
With the photograph at the core, Perception will explore artwork that is manipulated in many fashions: by way of hand with a selection of media, where photography becomes mixed with wax, paint or Plexiglas. Other artists use pinhole cameras or Polaroid film to achieve a specific effect, and some utilize digital means to create and alter the artwork, resulting in a different effect altogether. With all of these varying methods, it’s up to the viewer to determine how the photos are created.
The exhibition will feature Calgary-based photographers Dianne Bos and James Holroyd, as well as Jesse Boles, Franco DeFrancesca, John Folsom, Virginia Mak and Sarah Nind.
Bringing together an impressive selection of early works by many of the great figures in Québec art during the modern period, in the exhibition DÉBUTS Galerie Simon Blais offers a look at the first examples of various practices that would go on to have a major impact on the era. Made at pivotal times that saw the emergence of highly individual artistic personalities, the works on view show what Jean Paul, Alfred and Guido, among others, painted before becoming Riopelle, Pellan and Molinari. The landscapes, still lifes, portraits and abstractions making up this landmark exhibition include rare works and even some curiosities from the young Alleyn, Barbeau, Borduas, Daudelin, Dumouchel, Ferron, Gauvreau, Goodwin, Hurtubise, Jauran, Juneau, Lemoyne, Letendre, McEwen, Molinari, Mousseau, Pellan, Riopelle, Whittome—and Mondrian.
Newzones is pleased to present a solo exhibition of new work by Jonathan Forrest.
Part of the vibrant next generation of Saskatchewan's abstract painters, Jonathan Forrest’s boldly coloured acrylic paintings playfully reference post-war abstract painting. But instead of introspectively exploring the canvas, Forrest’s layered works lift from the surface, tactfully invading the viewers' space.
Jeffrey Spalding desribes Forrest’s paintings in Canadian Art Online Reviews:
“Seen in the flesh, the paintings are physical wonders...Surfaces lavished with built-up layers of icing-cake impasto ooze tantalizingly over the edges. Other areas are scraped right back to a residual stained ground. Slabs of clean line and hard-edged painterly slivers of varying thicknesses have the appearance that their corners have been folded over, origami gone mad...”
In the context of a history of painting defined by flatness, Forrest re-invents the idea of contemporary prairie painting. His multi-layered works play within the limitations of a flat surface while opening up new possibilities for spatial composition.
Born in 1962, Edinburgh, Scotland, Jonathan Forrest received both his Bachelors and Masters of Fine Arts from the University of Saskatchewan. He also attended the Emma Lake Artist’s Workshop and became an organizer in 2001. His work had been widely exhibited within Canada and can be found in many public collections including: the Canada Council’s Art Bank, University of Saskatchewan and the Art Gallery of Alberta.
Katharina Mayer Theatrum Familiae, feature exhibit of 2012 CONTACT Photography Festival, comes to Toronto!
The German photographer Katharina Mayer (*1958) is a Master student of Hilla & Bernd Becher and Nan Hoover at the world renowned Duesseldorf Kunstakademie of Joseph Beuys, Gerhard Richter, Candida Höfer and Andreas Gursky.
In her project familia, a lifelong project the artist commenced in 2001, Katharina Mayer focuses on the life’s most crucial element: the family as a global and universal way of life and what importance it has in communicating ethical and moral values. The photographer visits families in various cities to capture them often in their most familiar context: at home, though not exclusively. Today, at the beginning of the 21st century, the image of the family is more complex and varied; Katharina Mayer’s impressive family portraits demonstrate this vividly. The family portrait marks the boundary between public and private. Mayer’s purpose is to discover this boundary and to experiment with it.
Katharina Mayer intends to come to Toronto from March 17th to 31st for the preparations of her exhibit.
We encourage your support in this unique interactive project. Each family may not only commission its own family portrait, but also a selection of Toronto family portraits may be included in the exhibition.
A large part of Mayer’s work involves the commissioning of portraits. Price options ultimately depend on sizes.
A commission may include small or large Diasec prints or a custom-made album with photographic prints. Those persons portrayed not only receive a tangible piece of art and a very personal memory – they are also part of the greater artistic project familia!
Please contact the gallery for further information and pricing options.
Warmest,
The Team @ Lausberg Contemporary
Email: toronto@galerie-lausberg.com
IMAGE CREDIT:
Katharina Mayer, Familie Purdy, London, 2006
Newzones is pleased to announce a solo exhibition by senior Canadian artist, Chaki.
A skilled colourist, Chaki has painted countless landscapes since the 1970s and is always mining the theme for new inspiration. Landscapes and still-lifes are created by selecting commonly known elements of nature that are rearranged to mimic the object in the artist’s mind. Thus, the final assembled painting cannot be traced to an actual place or plant. A believable reality is presented, but it is entirely of Chaki’s making. The paintings convey strong emotions through gesture and use of colour.
On Chaki’s paintings, Peter Clothier, an LA based art critic states, “Painted not from real vistas but from a personal inner vision, Chaki’s pictures are huge and hot, emerging from the artist’s engagement with his medium on the canvas. The gestural quality of their composition suggests that they are not intended to tell us more about the world out-there, but rather about art’s power to create its own reality…”
Chaki was born in Athens and lived in Tel Aviv until 1962. He then immigrated to Montreal, where he has spent most of his life. Educated in both Tel Aviv and at the École des Beaux Arts, Paris, he began exhibiting in group exhibitions is 1959 and his work has since been in over 450 group exhibitions and an impressive number of solo exhibitions. His work is collected all over the world, in both private and public collections. From 1967 to 1989, Chaki was the head of Painting and Drawing at the Saidye Bronfman Centre.
Please join us for our WINTER GROUP EXHIBITION featuring 16 Canadian and International artists. Let the colours, textures and materials of Lausberg Contemporary artists provide warmth and inspiration during the coldest weeks of the year!
Artists exhibiting include:
Rafael Barrios (VEN) , David Burdeny (CDN) , Freddy Chandra (USA) , Franco DeFrancesca (CDN) , James Robert Durant (CDN), Marie Lannoo (CDN) , Michael Laube (D) , Zammy Migdal (USA) , Udo Nöger (D) , Jürgen Paas (D) , Rui Pimenta (CDN) , Rita Rohlfing (D) , Dirk Salz (D) , Klaus Staudt (D) , Gaby Terhuven (D) & Achim Zeman (D)
The exhibition will run from January 12th to March 20th, 2012. Join us for an opening reception on Saturday January 14th from 2- 4 PM.
Born in Wettingen, Switzerland, into an artistically talented family, Evelyne Brader-Frank has been expressing herself through soapstone, bronze, and steel for almost twenty years. Her dynamic male and female figures are celebrations of form and the beautiful stones from which they emerge. Fascinated with classical mythology, Brader-Frank titles her sculptures after personalities from Greek and Roman myths, looking for a match between a character and her feelings for the new sculpture.
In 1994, Brader-Frank moved to Alberta where she not only expanded her work into larger formats like bronze and concrete, she had the opportunity to further develop her skills by working with prominent Canadian artists such as the world's foremost ice carvers Michael Rapati and Larry Andreoff.
On her work, Brader-Frank states:
"My sculptures are inspired by the human body.The style of the three dimensional figure I plan to create drives my selection of media. Stone is the warmest of all and this leads to statues that emanate life. Bronze allows me to bring out particular details, capturing the eye of the observer. Steel gives me the opportunity to express a most abstract observation of form and movement. The mirror polish gives the work a beautiful dynamic appearance and captures and reflects a striking play of light, colors and shadows. The viewer discovers himself and his environment in the sculpture, making him part of the artwork.”
Evelyne Brader-Frank finished an education as a sculptor at the Franziska Dora Sculptor School. She had the opportunity to learn different carving techniques in various materials. Evelyne currently resides in Switzerland. She lived and worked seven years in Edmonton, AB.
Fascinated by the optimism of the 1950s, Stephen Bulger has long considered 1955 to be the epitome of this era, so often mythologized and made nostalgic in North American mass media.
This exhibition contains works by various makers, all photographed in 1955, displaying many different approaches to photography:
1955 begins with Larry Morris’ photograph of The Times Square New Year's Eve Party welcoming in 1955, which was the 50th anniversary of the first celebration at One Times Square.
Charles Swedlund, a twenty year old native of Chicago who had graduated from the famed Institute of Design and, in 1955, delved into an intense year of image making. On exhibit are selections of his multiple exposures from the series called “Chicago,” as well as selections from his series “Firefighters”.
George S. Zimbel travelled America in 1955 and received an assignment to photograph New Orleans. His take on the city was a rawer look than was wanted by the client, who offered only a ‘kill fee’ after seeing the photographs. Images from this series have been acquired by major museums around the world, and were published as Bourbon Street, New Orleans 1955 [les éditions du passage, 2006.]. This trip confirmed George’s love of Elaine Sernovitz, to whom he proposed from El Paso. They rendezvoused in New Orleans and were married there on Feb 3, 1955.
The exhibition also offers glimpses of life in 1955, and fine examples of photographic practice by these makers: Dr.Harold Edgerton; Elliot Erwitt; Dave Heath; André Kertész, O. Winston Link; Angus McBean; W. Eugene Smith; Frederick Sommer; Dennis Stock; and Gabor Szilasi.
The exhibition also includes the wedding portrait of Murray and Jane Bulger, who were married on February 19, 1955, and to whom this exhibition is lovingly dedicated.
Harbinger Gallery ushers in its 25th anniversary year with Pearl Van Geest's feature of new paintings, Snow Queen.
Pearl’s latest works are inspired by an interactive installation created and mounted during her residency at Banff Centre in 2011. During Van Geest’s residency her interests in our complex relationship, as humans, to the physical and natural world were explored in her work, drawing from performance and installation art in combination with the language of abstraction, pop art, and landscape painting. During the installation, participants were asked to place kiss marks onto a large canvas after having applied lipstick provided by the artist. At the same time a topographical map of the area was projected onto the ever changing canvas. The individual marks, the constellation of the kiss marks and the landscape itself were used to make the paintings in this exhibition of new work at Harbinger Gallery.
Pearl Van Geest has been actively exhibiting her work since graduating from the Ontario College of Art and Design in 1996. Recent solo exhibitions include: But this is not a place of words at KWT contemporary, Toronto; Other World at Transit Gallery, Hamilton; Incident Horizon at Harbinger Gallery, Waterloo; Of Possession at the Cambridge Galleries (2008); Love on the Rocks at James Baird Gallery, Pouch Cove, Newfoundland (2007), and Eat Me and Sugar Bush at Katharine Mulherin Contemporary Art Projects, Toronto (2006). Van Geest has acted as resident artist at the Pouch Cove Foundation (2005, 2007 and 2010) and at the Banff Centre (BAIR Winter 2011).
Pearl’s paintings are part of the Canada Council’s Art Bank Collection. She was a semi-finalist for the RBC Painting prize in 2003 and was included in the Magenta Foundation’s 2008 publication on Canadian painters, Carte Blanche: Vol. 2. She is the recipient of grants from Ontario and Canada Arts Council.
Snow Queen is held in conjunction with INTO PLACE an exhibition by Van Geest, held at Robert Langen Gallery, Wilfred Laurier University, from January 4 - February 11.
Dara Gellman
pearlmaiden
12 January to 11 February 2012
Opening Thursday 12 January from 6 to 8 pm
Artist Talk Saturday 28 January at 5 pm
In pearlmaiden, Dara Gellman draws on the pearl as an object, an image, and an idea. Throughout literary history, the pearl has served as metaphor for the feminine, for vision, for sensuality and for wisdom. Here, by projecting a video dreamscape based on a medieval text about a pearl onto a floating screen made entirely of replica pearls, Gellman employs this precious and mysterious object as both subject and medium, mining the richness of the pearl’s metaphorical significance and its mythic quality to put us as viewers in a fertile, ambiguous space where preconceived notions can be destabilized.
