All Posts By

admin

loop elsewhere MAY EDITION

By | Uncategorized | No Comments

 

 

detail from, September Haze #3, Oil on wood, 20 x 20”, Martha Eleen, 2017.

MARTHA ELEEN

Martha’s exhibition, The Meaning of Things, runs until May 28th at the Barber Atrium of the Carnegie Gallery.
The Carnegie Gallery
10 King Street West
Dundas, ON L9H 1T7
905.627.4265
carnegiegallery.org

LIBBY HAGUE

Libby has been invited to participate in the Digital Painting  Atelier at OCAD . This residency provides access to technology and technical support for creative experimentation.

Adrian Fish Deutsche Demokratische Republik: The Stasi Archives

By | Exhibitions | No Comments

April 22 – May 14, 2017

Reception: Saturday, April 22 3-6PM

 

 

From 1946 to 1989, the former German Democratic Republic (GDR, or East Germany) was engaged in an extensive intra-civilian surveillance program seeking to expose and incarcerate suspected “class enemies.” The program was administered by over 90,000 employees and agents of the Ministry for State Security (colloquially knows as the Stasi), and over 170,000 ordinary East German citizens “volunteered” as unofficial collaborators—about 2.5 percent of the population. The archives were housed in the sprawling campus of the Ministry for State Security in the former city of East Berlin, which served as the processing centre and warehouse for the volumes of documentation related to Stasi activities. The archives are now searchable for citizens of the former GDR who believe their lives were impacted by this systematic surveillance. Over 2.75 million people (mostly former citizens of the GDR) have since made file requests. In this exhibition, Adrian Fish’s photographs document the extant repository of dossiers collected by Stasi officials, in addition to the meeting rooms, offices, and boardrooms preserved after the collapse of the GDR.

For more information, visit afish.ca.

 

Ava Roth Encaustic Sewings

By | Exhibitions | No Comments

April 22 – May 14, 2017

Reception: Saturday April 22  3-6PM

 

Ava Roth’s current exhibition, Encaustic Sewings, explores two contrasting traditions of artistic practice.

Each ‘encaustic sewn painting’ in the series begins with aggressive tools: a blow-torch, razor, oil, and resin. Roth finishes her opaque and heavy paintings with a series of delicate—even domestic—tools and media: needle, thread, and delicate papers. Thread or copper is sewn into the wood panels, piercing the encaustic medium.

The ‘encaustic painted embroideries’ take the opposite approach. Roth begins working with embroidery hoops, sewing onto transparent papers with fine threads and decorative beads. Traditional encaustic techniques are invoked by waxing the delicate papers and then suturing their translucent surfaces.

In both series, monochromatic expanses of wax and/or paper are bisected, slashed, or divided. Sewn ligatures strain to hold the divided elements firmly in place as an otherworldly spectacle of colour and texture reveals itself through the fissure.

Roth is a Toronto-based artist whose practice explores encaustic painting, book-binding, embroidery, drawing, textiles, wax-carved jewelry, gouache painting, and installation.

For more information, visit avaroth.com.

 

loop elsewhere APRIL EDITION

By | Blog | No Comments

 

detail of Support Station, Libby Hague 2017

YAEL BROTMAN

Yael’s sculpture installation continues at Kelowna Art Gallery until April 16th. Fabrications, the 4 person exhibition curated by Liz Wylie also includes a work from Libby Hague.
www.kelownaartgallery.com
The catalogue is published by ABC Books Canada http://www.abcartbookscanada.com/ with essays by  Liz Wylie and Diana Sherlock.

Also, Yael is showcased by  FilmArtist in their clip at: www.youtube.com/watch?v=y1AzvyNu1BM

and finally,  ARTORONTO reviewed Yael and Kim Stanford‘s exhibition at loop: http://www.artoronto.ca/?p=37685.

LIBBY HAGUE

Libby created a 30TH Anniversary  limited edition woodcut called Support System, for the Art Gallery of Mississauga Fine Art Auction on  Thursday, April 27th, 2016 .

Libby is also featured in a 30 sec video clip at:  https://www.youtube.com/watch?v=BtBtM_JRKNY

ESTER PUGLIESE

Ester has a painting in a group exhibition curated by Olga Korper and her grand daughter Taiga Lipson at Propeller Gallery, titled Live Longer, Piss Off Your Heirs, running March 22 to April 2 at Propeller Gallery 30 Abell, Toronto, Ontario.

http://www.propellerctr.com/

Ester also has a piece in the Art Gallery of Mississauga’s 14th Annual Fine Art Auction, Thursday April 27, 2017, to support and celebrate the gallery’s 30 year anniversary.
Details are at:

Rochelle Rubinstein MY ONLY DRINK

By | Exhibitions | No Comments

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

By | Exhibitions | No Comments

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

By | Blog | No Comments

 

 

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.

 

Yael Brotman Time. Story. Tree

By | Exhibitions | No Comments

February 25th  – March 19th, 2017

Reception: March 4th,  3 – 6 PM

Yael Brotman presents a new installation of work that contemplates raw material, process and universal stories that infuse our constructions and artifacts with poetry and truth.

In this exhibition, Brotman brings together various stages of creating, from the textural rubbings of bark of ancient trees on Haida Gwaii, to notation, documentation, translation from drawing to silkscreen, and transformation into three-dimensional structures.

In summer 2016, Brotman participated in a residency on Haida Gwaii, sponsored by Parks Canada and the Haida Gwaii Museum. She was struck by the legends she heard and read about Foamwoman and about eagles, ravens and turtles. There were marked parallels to the use of animals and birds in Western European tales; and the iconography of Foamwoman was remarkably similar to the multi-breasted Diana of Ephesus.

Brotman’s process is simplicity magnified into complexity. Basically she uses scissors and tape. Her drawings also embody the simplest of approaches—direct rubbings. But there is a point of departure into contemporary technology, like the GPS used to find the culturally modified trees deep in the Haida forest, the use of the silkscreen printmaking process, and the use of Mylar as the substrate. In this way Brotman’smaterial and process meld time and tales.

Yael Brotman lives and works in Toronto. She has exhibited nationally at public galleries and artist-run centres, and internationally at museums, private galleries and university galleries. She has been awarded grants and attended artist residencies in numerous countries including China, Australia, Ireland, Scotland, and Haida Gwaii. Brotman has recently been chosen as an RCA elect, to be inducted in May 2017. She is a Lecturer at the University of Toronto Scarborough and is president of the board of CARFAC Ontario.

Kim Stanford You knocked my teeth out

By | Exhibitions | No Comments

February 25th – March 19th, 2017

Reception:  March 4th, 3 – 6 PM

 

Loop Gallery is pleased to announce a new exhibition by member artist Kim Stanford.

In the domestic realm, performance can feel like everything for those tasked with manufacturing and maintaining a cohesive, comfortable, and happy home and family.  We play the part through careful self censorship, sharing our meticulously constructed narratives over unedited truths.  But what happens when it all starts to fall apart?

In You knocked my teeth outStanford explores the weight of keeping a family together amid dysfunction.  Frustrated by the idyllic imperative of decorating porn, Stanford creates collage and sculpture which lay bare the psychic interiors of those impossibly tasked with the domestic fantasy. The emotional strain seeps through. Something is not quite right in the pieces’ appearance even as they suggest objects that make up the spaces in which we play out our lives.  Created to unsettle rather than placate, the pieces on display in You knocked my teeth out illustrate the psychological milieu of home and all those who inhabit it.

Stanford studied visual art at The Toronto School of Art (TSA) and OCADU, as well as critical social theory in her graduate degree at the University of Toronto.  Using common, often domestic items, she constructs absurd assemblages in order to open a conversation about the universal dialectic between the taken-for-granted and a search for meaning.

Rewind with Loop’s Jenn Law

By | Blog | No Comments

If you missed Jenn Law’s last exhibition at Loop titled Extant, here’s a rewind look with a behind-the-scenes Q&A.

By Tara Cooper

1. What’s your elevator pitch for your last show?

In Extant, I consider the legacies of three authors who requested that their unfinished works be burned upon their deaths, yet whose writings were ultimately spared. Through the creation of imagined artifacts on the brink of destruction, I reflect on that which has been irrevocably lost over the course of time.

2. What was your strategy for the install at Loop? Were there any challenges?

I find installing work a bit stressful usually – mostly because I dread the tediousness of all the measuring and levelling, etc. So this time I asked artist and woodworker extraordinaire, Leah Ataide, to help install my show and it was the easiest, most stress-free installation experience ever. I think I actually enjoyed it for once! The biggest challenge was the 3 plinth mounted plexi-frames. Superframe custom-designed and built the double-sided frames to allow my 3 Dickinson lithographic works to be viewed from both sides. The frames were mounted on the plinths with screws that had to be fastened with wing nuts from the inside of the plinth. This required that we lay the plinth on its side with the frame tentatively screwed in, and while Leah supported the frame, I crawled inside the plinths with a mini flashlight to secure the wingnuts. A little claustrophobic, but it all came together in the end!

3. How do you spend your time when you’re not working in the studio?

I spend a lot of time reading, but the line between research and pleasure is always blurred. When I’m not making art, I’m generally writing about it; a productive compliment to my material practice, which allows me to explore and work through ideas in a slightly different way (I am happiest when I am doing both!). I have young kids, so I do my best to balance work and deadlines with time spent with my family – it keeps me grounded, focused, and grateful for what I do. Travel is always a welcome chance to recharge and seek inspiration, and as a family we love to visit museums, book stores, botanical gardens, and nature reserves both locally and further afield. When I need to de-stress, a long walk in the ravine always does the trick – or singing with my girls at the top of our lungs in the car, our own version of “carpool karaoke”!

4. What artist living or dead would you most like to have dinner with? What would you order? What question would you ask him/her?

That’s a challenging question, as there are countless artists across hundreds of years whose brains I’d like to pick! But one of the first artists to spring to mind is Sol LeWitt. I have long been enamoured with LeWitt’s work, particularly his artist’s books and wall drawings, and his embrace of seriality, collaboration, and rule-driven repetitive gestures speak profoundly to me as a print-based artist. Last year I had the privilege of visiting LeWitt’s largest scribble drawing at the Albright Knox Art Gallery in Buffalo. It was his last commissioned work and took 8 weeks, 16 artists, and nearly 2,000 pencil leads to fill the three walls surrounding the Gallery’s central staircase with 2,200 square feet of carefully prescribed scribbles. It is one of the most beautiful works I have ever seen. But LeWitt was also known for his humility and munificence and regularly traded work with both emerging and established artists. It is this generosity of spirit and interest in the exchange of work and ideas that would make LeWitt the ideal dinner guest. I would invite my closest artist friends to join us for dinner at my home, and we would drink wine and collectively make a feast of Italian food inspired by LeWitt’s years living in Spoleto, Italy. I would ask him about his time there, the influence of Italian wall painting traditions on his practice, and his favourite pieces from his own vast collection of artworks. After dinner, we would sip sweet vermouth and I would pass out graphite pencils, inviting everyone to scribble on the walls…

5. What’s next in terms of your studio practice?

I am presently working on two artist books, based on two of the series exhibited in this exhibition. The first is a book of poems created from Kafka’s Blue Octavo Notebooks (six pages of which were framed as individual pages for this show). The second book is a reflection on the ancient Library of Alexandria, from which the postcard pieces in the exhibition emerged. I am very excited to be creating works in book form and hope to jump back full-steam into my work and research in the coming months!