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March 2017

Rochelle Rubinstein MY ONLY DRINK

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March 25  –  April 16,  2017

Reception: March 26,  2 – 5 PM

The first words got polluted 

Like river water in the morning 

Flowing with the dirt 

Of blurbs and the front pages. 

My only drink is meaning from the deep brain, 

What the birds and the grass and the stones drink. 

Let everything flow 

Up to the four elements, 

Up to water and earth and fire and air. 

—Seamus Heaney, “The First Words,” from the Romanian of Marin Sorescu

 

Rochelle Rubinstein’s exhibition, My Only Drink, consists of four works: Blood, Grass, Water, Wood.

The first two were originally part of a 24-panel installation, called Book of Job, which included hand-painted text and images of soldiers, birds, madonnas and horses. She printed, painted and carved red stripes over ten of the Job panels, and they became Blood. This piece is a celebration of womanhood in the context of present-day misogyny. It also connects to Rubinstein’s involvement in Blood, Milk and Tears, a collective of Muslim and Jewish women working with the subjects of menstruation, breastfeeding and mourning practices.

She transformed the remaining 14 panels into Grass, an aerial view of lush, green land. This piece emerges out of her advocacy work to protect natural grass fields and playgrounds from being replaced with toxic artificial turf.

Water consists of three layers. The first was a miscellaneous collection of block prints including bees, keening Irish women, and Rubinstein’s family in a refugee camp in Italy. Then she covered everything with the Hebrew text of the Orphan’s Kaddish, a mourning prayer. The final layer is an explosion of drops, representing tears, milk, and blood, as well as our precious Ontario aquifers that are being depleted by greedy corporations.

Last is Wood. As is her method, Rubinstein had every intention of adding layers and textures to the striped grid, but something kept stopping her. Finally, she realized there was already a completeness and an expression of solidarity in its simple lines.

—Alisha Kaplan

Mark Adair

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March 25 – April 15, 2017

Reception: March 26 – 3 – 5 PM

 

The two artists in the current Loop exhibition work in a similar way; not content to leave well enough alone, they work and re-work their pieces time and time again, even to the extent that they exhibit pieces as evolving iterations, unbothered by notions of a thing being ‘done’ or ‘undone’. This process is analogous to our cultural habit of telling stories, re-working them, then re-telling them, thus reviewing and renewing our myths and cultural narratives to provide our lives with hope and meaning.  Both are keenly aware that truth and narrative can be deadly adversaries.

Adairs pieces are often years in the making. He chooses diverse materials, methods and styles to make projects intended to engage the viewer with both the practice of production and the image or thing itself. As he leaves one project and moves on to the next there is often a steep learning curve and the labour intensive works are always exercises in redemption.

The piece Glass House Doors (2017, 63″ x 80″) began life in 2007 as a large charcoal drawing of the Tree of Knowledge. The doors invoke memories of stained glass but Adair has replaced the painted glass with hand cut lead patterning and the design of the steel support frame was suggested by the studying of necropolis street plans.

The carved wooden Head for a Fountain (2017, 14″ x 14″) and the small figure carved from elk antler are both meditations on the enigmatic Green Man figure, so brilliantly described by Russell Hoban in his 1980 futuristic, dystopian novel Riddley Walker. Head for a Fountain will be used in an installation collaboration with Patti Muratori at Rubinstein‘s Bela farm project.

Included in Adair‘s show is Catherine Daigle’s ( 2005, 40″x28″) backlit When Daddy Comes Home All The Fun Stops. Daigle died in 2006 but she would be grimly satisfied to know that her work is still relevant.

loop elsewhere MARCH EDITION

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detail from Libby Hague:  Habitat West, woodcut, objects.

TANYA CUNNINGTON

Tanya’s exhibition Paint continues until March 18th at Lee Contemporary Art in Orillia.

TARA COOPER

Tara Cooper and Terry O’Neill’s public art proposal Tall Tales of Mill Street was accepted as part of the series of outdoor artworks that will be installed along Kitchener Waterloo’s new light rail transit system.

Here’s a link to a CBC article: http://www.cbc.ca/news/canada/kitchener-waterloo/ion-lrt-stop-art-displays-1.3982236.

LIBBY HAGUE

Fabrications, the 4 person exhibition curated by Liz Wylie for the Kelowna Art Gallery continues. It also includes a wonderful sculpture installation by Yael Brotman until April 16 www.kelownaartgallery.com

The catalogue is published by ABC Books Canada http://www.abcartbookscanada.com/ with essays by  Liz Wylie and Diana Sherlock.

The International Print Exhibition: Canada and Japan. Curated by Liz Ingram and April Dean, it was first shown in Kyoto continues until March 25th. Also features Yael Brotman.
University of Alberta Museums

University of Alberta
continues until March 25th.

www.museums.ualberta.ca

And in Buffalo New York on view in the UB Anderson Gallery is Claire Ashley: Loathsome Beauty Loaded Body, an exhibition on view until April 2nd, including work from the permanent collection which includes a piece from Libby.
https://ubartgalleries.buffalo.edu/exhibitions/claire-ashley/

ESTER PUGLIESE

Ester has been invited to participate as a contributing artist in the MacLaren Art Centre’s Benefactor Programme, which enables supporters of the MacLaren to take home original artworks for a one-year loan. Ester’s work will be on display in the McLaren’s Carnegie Room from March 8 through 22 alongside 150 artworks generously loaned by practicing artists from across the province. The culminating event on March 22nd, the Art Exchange Evening, gives MacLaren Benefactors the opportunity to select a work of art for the next year. For more information visit the MacLaren Art Centre website.

Ester’s work has recently joined the roster of artists at Partial Gallery, an online art rental & sales service that brings Toronto artwork to homes, businesses, and design projects.

Also, Ester’s exhibition, Measured Calm, at Loop Gallery from January 28 – February 19, 2017 was featured in the following articles and features:

ELIZAVETA MIRONOVA, ‘Elizabeth Babyn and Ester Pugliese at Loop’, ARTORONTO.CA, February 12, 2017

“Pugliese’s paintings take the viewer into a tranquil pleasure state…Orange, red, and purple hues are erupting in the background then covered with drawing to form something between a flower and a firework. It’s electrifying but the longer you look at it, the happier and more peaceful your mind becomes.” – Elizaveta Mironova

‘The flowery, fragility of life – Ester Pugliese,’ www.artistsinspireartists.com, February 12, 2017

‘Ester Pugliese,’ image feature, www.create-magazine.com, February 8, 2017

‘Ester Pugliese: Moderate to strong northwest winds will persist throughout the weekend,’
image feature, www.eatsleepdraw.com, February 2, 2017

AARON D’ANDREA, ‘Davenport Artist Ester Pugliese Creates Collection for Valentine’s
Day,’ What’s On, Art Entertainment, Bloor West Villager, February 1, 2017

ROCHELLE RUBINSTEIN

Jewish and Muslim women artists envision a Toronto where cultures consciously collide, differences do not divide, creativity and community-building thrive. Facilitated by noted printmaker, painter, fabric and book artist Rochelle Rubinstein, a diverse group of women with backgrounds in visual arts, textiles, creative writing, music, photography and more come together to create a collaborative installation informed by a process of shared study of foundational Muslim and Jewish texts and deep reflection on the relationship between gender, embodiment, creativity and identity in both communities. Women’s experiences of menstruation, breastfeeding and mourning in their traditions are central to the creation of Blood, Milk and Tears

February 23 — May 24, 2017
Fentster @ Makom, 402 College Street  MAP

Opening Event:  Wednesday, March 8th,  7 – 9 PM | FREE

FENTSTER curator, Evelyn Tauben, writes about the exhibition in light of the recent mosque attack in Quebec City. Click here to read.

Join in for the opening on International Women’s Day, Wednesday, March 8, 7 to 9 PM and meet the women who created Blood, Milk and Tears, featuring vocalist Aviva Chernick and poet Sheniz Janmohamed sharing a new collaboration – two women exploring their relationship to their spiritual and creative practices through movement, sound and ritual.