Press: Sara Cwynar Interview in Muse Magazine

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Gallery artist Sara Cwynar was recently featured in Muse Magazine with an interview by Maurizio Cattelan.

Vancouver native living in Brooklyn, artist Sara Cwynar makes photographs that look like a composite archive of collected visual materials. She’s attracted by the way images morph, accumulate, endure and change in meaning over time. The familiarity of kitsch truly fascinates her.

MC So how did you first make photographs?

SC I was studying literature and I was bored and interested in what images can do instead of language, so I started making ugly black and white still lifes of eggs in sun beams on hardwood floors and Canadian trees in snow and things like that.

MC So you made ugly pictures then, but your pictures are still ugly now in a way?

SC Yes! Ugly with an intentionality that was missing before. Now I am drawn to minor pictures — things that are not traditionally understood to be beautiful. I like images that fall outside of a typical idea of a highly produced “artistic” photo and the possibilities involved in re-presenting these as art.

MC So how do you achieve your goal of making things ugly?

SC I’ll use the example of my “gum display” pictures. The image begins with a stock photo of a gum display stand from the 1960s (from a catalog that store vendors could use). It is sort of badly photographed to begin with (the shadows are all wrong, there is too much gum stuffed into the display, there are light leaks on some of the prints), and then warped with time and light and yellowing of the printed material. In almost every respect it is valueless, but I think there is something very beautiful here. The way that the passage of time is written on the surface of the image through its fading, the nostalgia in that, the unhidden intentions of the original photographer to stuff as much product as possible into this product shot, extra touches like putting some of the gum packages on angles and stacking them in very deliberate ways, these old packages with their text that are familiar to everyone but now disappeared. This image is ugly, yes in a way, but also more human and beautiful than many slick, idealized images of the sort we see everywhere. I take this picture and re-photograph it as a new picture, add more shadows, add more objects, and push out the things that make it ugly until the ugliness folds in on itself and becomes something else.

MC What does it mean to be a photographer nowadays, in an era where everyone can take pictures?

SC I think it means first to not ignore the fact that anyone can take a picture, to do something that embraces that. This is something that not everyone with an iPhone can do, what art is good at doing when it works: to show something about the world around you that you couldn’t see by just looking.

MC So on that note, are we building a parallel reality or is it just a better way to know the world in which we live?

SC The latter! Photography at its best kind of remixes reality and shows it to us anew, but is still very much tied to reality, has an index in it, and that’s what gives the medium its power. My pictures are just exaggerated versions of a picture you already know. I am also very interested in hyper-reality — the idea that images have lost this root in the real world, have completely absorbed and replaced reality. I get a sense (from Toiletpaper Magazine) that you like this too. In your project, you present what looks like a found advertisement but on closer inspection is something much darker and less mundane.

MC So you like when these idealized images hint at something darker, which often happens accidentally, though it is obviously played out with much intention in both of our work.

SC Yes, I love those images (in Toiletpaper) because they look very near to something that exists. Something I love about printed matter is how susceptible it is to fashion and to changing styles and understandings of what is “classy” or “tasteful.” Commercial pictures, especially from the height of modernism, often reflect an idealism, a glossing over of reality, that now seems quaint and also sinister. There is a lot of misogyny in advertisement, racism, smiles hiding real political problems of the time. Advertising still does this — completely ignores politics, I mean — but when you look back at images from the 50s and 60s, it is much more palpable and striking how the reading of these images has morphed over time. There is something great to be mined from that.

MC So in a way, you are taking familiar images and foregrounding the absurdity and the artifice in all commercial or popular images?

SC Exactly.

MC And old printed matter even warps in color.

SC Yes! That’s something that Toiletpaper does very well, appropriating a certain yellow, sort of harsh lighting that immediately dates an image to a certain moment in time.

MC Where are all these pictures going?

SC Mostly, I think a contemporary art practice lives on the internet. Most people experience my pictures through their computer for better or worse. That’s why I try to make them so dense, so you can’t really see what you’re looking at online, you can’t quite understand unless you experience in the real world.

MC What is your personal definition of kitsch?

SC Kitsch is something familiar, something we see with an idea in mind of how everyone else sees it, that we look at with a collective eye. My definition is informed by the Czech writer Milan Kundera’s. Kundera sees kitsch as what we look at to ignore what is difficult about life, most fundamentally that it eventually ends in death. Kitsch can manifest itself as many things — religious movements, parades, politics, advertising — it is a means of ignoring reality. In this sense, kitsch is also a manifestation of the hyper-real, a way of distilling the messy world into an easily digestible set of images that can replace real life. This goes back to why images are more important than language – you see something particularly remarkable in real life and the only language we can think to use is, “It was like in the movies,” i.e: it was “like an image.” Kitsch is the basis for a familiar, collectively understood image world that has subsumed the real world.

MC Can an image kill you?

SC The idea that a photograph is always a truth is very slippery, as we’ve talked about. I was just reading this old camera manual and there is a section about police photography with quotes like, “Often a good picture means the difference between conviction and acquittal” and, “Police departments in smaller towns and communities are following the example of the larger cities by arming their officers with cameras.” This is so funny because we all know now that a photograph isn’t evidence, it is easier and easier to falsify a picture. But as I mentioned, much of the power of photography lies in its increasingly tenuous tie to truth or reality. So even though it shouldn’t be able to, it could kill you because it holds a truth, but that truth can be completely fake — it can prove something that isn’t real. So this makes images even more dangerous than ever.

MC Photography is a very dangerous art?

SC The most dangerous!

To see the full post please visit Muse Magazine.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Jesse Harris at the Museum of Contemporary Canadian Art

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Gallery artist Jesse Harris is currently exhibiting in a group exhibition at the Museum of Contemporary Canadian Art.

His artwork (pictured above) has been favourably mentioned in several reviews of the exhibition.

Canadian Art
Globe and Mail
Toronto Star

For more information about Jesse Harris please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Georgia Dickie Reviewed by the Toronto Star

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Gallery artist Georgia Dickie had her current show reviewed in The Toronto Star.

How big can Georgia Dickie get, and how fast? The 25-year-old Toronto artist, through no fault of her own, has been testing those limits with increasing intensity the past couple of years as she piles up museum exhibitions (Oakville Galleries, the Museum of Contemporary Canadian Art, the Power Plant) and critical acclaim (guilty) at a dizzying rate.

That’s likely because it’s well deserved. Dickie is part of a youthful cohort in the city who have a shared enthusiasm for simple materials, but I’m not sure any of them match her unbound, intuitive joy.

Her current show at Cooper Cole shows you exactly what I mean. Dickie lives underneath a scrap heap of found objects and weirdo castoffs — for at least a couple of years, a coffinlike box with a prosthetic ear stuck to it has lived in her studio — and it often seems like her practice is founded on an urgent need to recombine them into something close enough to art that she can shove them out the door. One work in the show says as much: a gleeful swoop of wire balanced on a short pile of wood, porcelain and plastic is called “Everything Out at Once.”

Not every work teases so explicitly, and Dickie’s humour often reigns — another standout, a teetering snarl of pipe balanced on a wooden disc, is called “God Makes No Mistakes (Loretta Lynn)” — but herein lies the engine of her remarkably dynamic, idiosyncratic works.

You can see them as sculpture, which they absolutely are (she has sense of material, proportion and scale that would do any classicist proud), and there’s a sly Minimalist name check to much of what she does, with her coils of copper pipe and other workaday castoffs. But her compositions are so enigmatically beguiling that, far from the cool materialism of her forebears, they exude a lovable, forthright charm.

Dickie’s works are forced out to fend for themselves in a world where their function, as art or anything else, is to be determined. It’s a nice little reflection of their creator, who seems to use her array of objects and the mash-ups they become as a proxy for making sense of things in a much, much bigger sense for herself — something she, like any of us, struggles with mightily. With her progeny let loose in the world to find their own way, she might just be assembling an army of fellow travellers for us all.

- Murray White

To see the full article please visit The Toronto Star.

For more information about Georgia Dickie please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: As a Body Reviewed by NOW Magazine

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Our current exhibition As a Body, guest curated by Kari Cwynar, received a review from NOW Magazine.

Cooper Cole’s themed show addressing the body features works by contemporary women artists, all of them internationally recognized but many showing in Canada for the first time.

The front window is occupied by Lauren Luloff’s batik-inspired male nude. Painting with bleach on a bed sheet, she gives the male figure a casual exoticism reminiscent of Matisse’s odalisques. Seeing the male figure treated this way makes you wonder why it doesn’t happen more often.

Columbia graduate Mira Dancy, whose loose, expressionism-inflected figures paradoxically emerge with an effortlessness that comes from obsessive practice, is fascinated by contemporary folk magic. Her large-scale triangular cloth piece is based on a hoodoo wrist charm, infusing women’s long history of soothsaying and charm-making with a bold, painterly sensibility.

A triptych of portraits on leather hides by Allison Katz catches subjects in moments of sad contemplation. Ghosts of past illustrative traditions – fashion illustration and sign painting most consistently – haunt her work, making the emotional depth in her figures all the more arresting.

Staring through the batik nude in the window, you can see to Jody Rogac’s semi-nude photo of a young woman on the back wall. Naked from the waist down, feet planted firmly, the woman’s expression remains guarded and unreadable.

Holding the show together are Jenine Marsh’s glistening ceramic tongues, playfully scattered throughout the space. Given that the human tongue covers such a broad range of activity, they are fitting mascots for the show. 

To see the full review please visit NOW Magazine.

For more information about As a Body please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Installation: As a Body


As A Body

Mira Dancy
Olivia Dunbar
Allison Katz
Lauren Luloff
Jenine Marsh
Jody Rogac
Camilla Wills

Curated by Kari Cwynar

August 7 – September 6, 2014

Click here to see photos of the installation.

For press and sales information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Upcoming: As a Body

As A Body

Mira Dancy
Olivia Dunbar
Allison Katz
Lauren Luloff
Jenine Marsh
Jody Rogac
Camilla Wills

Curated by Kari Cwynar

August 7 – September 6, 2014

Opening reception: Thursday August 7, 2014 / 6 – 9pm

For additional information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

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Press: Sara Cwynar Reviewed by Frieze Magazine

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Gallery artist Sara Cwynar had her recent show in New York reviewed in Frieze Magazine.

Sara Cwynar’s artist’s book, Kitsch Encyclopedia (2014), patches together the writings of Roland Barthes, Jean Baudrillard and Milan Kundera in an attempt to cata­logue a world completely coated in a layer of kitsch. Cwynar draws her definition of the term from Baudrillard’s Simulacra and Sim­ulation (1981), which defines kitsch as a manifestation of the ‘hyperreal’ – simulations of the world that have started to matter more than the reality they represent. Cuckolded by its own image, reality is reduced to what Baudrillard calls a ‘fetish of the lost object – no longer object of representation, but ecstasy of degeneration and of its own ritual extermination: the hyperreal.’

Kitsch Encyclopedia provides the theoretical basis for Cwynar’s latest body of work, ‘Flat Death’ (2014), a collection of photographs that exacts a kind of ‘ritual extermination’ upon the hyperreal by confusing representation and reality. The show was anchored by two large prints from ‘Contemporary Floral Arrangements’ (2014), a series in which the artist enlarges found illustrations of elaborate bouquets segment by segment, then manually tapes together the various sections to form a flat surface. On top of this newly reconstituted picture, Cwynar carefully covers the original contours of the blooms with assorted colour-coded knick-knacks, and photographs the composition from above. Technically novelty items, the objects – which range from birthday cake candles, hotel soaps, remote controls, pencil sharpeners, trading cards and pill boxes to Scrabble tiles and a button boasting ‘Japanese Americans for Reagan/Bush’ – register as more nostalgic than new, leaving no true clues as to when the photographs may have been taken.

Across the gallery, Cwynar presented excerpts from multiple series, hung side-by-side in simple black frames, almost like a filmstrip. If there was a narrative, however, its tale was of how a flat image of an object can be transformed into a 3D object itself, only to later return to two dimensions as a photograph. Starting with found or staged pictures, Cwynar’s images are then scanned, enlarged, cropped, reconstituted, repopulated, rephotographed, and reprinted. The artist makes no attempt to disguise her interventions. The distortions of the ‘Darkroom Manual’ series (2013–14) result from direct interference with the scanning of diagrams sampled from a how-to book for budding photographers. (The effect is akin to the exaggerated static seen interrupting important broadcasts in cartoons.) For Toucan In Nature (Post It Notes) (2013), Cwynar took a snapshot of the tropical bird and surrounded it with a foliage of green highlighter tabs, photographing the resulting collage. The ‘Plastic Cups’ (2014) series begin as sculptures: towers of plastic plates and tumblers set against the backdrop of a crude blue tarpaulin. Cwynar photographs and enlarges the images, but then adds references to historical architecture, via grainy photos of Corinthian columns or Islamic domes. She prints out each image in black and white segments, covering the seams with short strips of brightly coloured tape that align like crosshairs over the focal point of
the final photograph.

While the layers of Cwynar’s imagery can be picked apart, the photographs resist being pinned to a time or place. The black and white portions of the ‘Plastic Cups’ encourage a comparison to historical documents but, even when left in colour, the pictures elude exact dating through their casual use of modernist kitchenware. This leaves the enigma of the title: ‘Flat Death’, two terms Scotch-taped into a vexed juxtaposition. The first term is troubled by the fact that, while the images the artist ultimately presents are flat, they remain aggressive advertisements for their brief existence as 3D objects; the second by the fact that, while reality may be finite, the hyperreal can never truly die, it merely gives way to other representations. The true mystery, then, is how Cwynar makes these longstanding observations feel so contemporary.

- Kate Sutton

To see the full article please visit Frieze Magazine.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Mark DeLong Essay on The Rusty Toque

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Gallery artists Mark DeLong was recently profiled on The Rusty Toque.

I was recently told that the American artist Kerry Tribe has described the making and presentation of artwork as a “tiny bit radical”–radical in that making and exhibiting art is tied into slowness and contemplation, things that are not popular in the contemporary culture we’re living in.

When I first met Mark around eight years ago, he was making work that was somewhat popular in Vancouver, or at least the sort of thing you might see around. Artists like Jason McLean and Keith Higgins and Marc Bell had become sort of West Coast affiliates of a Royal Art Lodge methodology, but made unique in a Pacific Northwest way in which their drawings were not twee, or precious, but more psychedelic and intuitive; messy and unpretentious. Some of those artists are still making some of that work. That is just fine.

Mark’s work now consists of ceramics and abstract paintings. Completely abstract paintings. No wishy-washy abstract figuration, zero ‘investigation’ into anything. He’s just picked up a Modernist interest and run with it. Because I suppose there is still more, at least as far as he can see, to be done with Abstract Expressionism, or just Abstract painting, or Action Painting, Automatisme. The only other male artist that I know of working with ceramics is Grayson Perry, who was momentarily popular and won the Turner Prize for his fairy tale type ceramic works, usually decorated vases. They were quite beautiful. I don’t hear much about him now. But Grayson Perry presented as a cross-dresser. He picked up his cheque for the Turner Prize in a gaudy, campy dress, accompanied by his wife. So inherent in his work were multiform gender issues, I suppose. Ceramic being women’s work, ostensibly. Perry’s ceramics in that regard were political, whether he/she intended them to be or not. If you make ceramic vases, and you walk around East London in a wedding dress, people will obviously start to make connections about gender politics, male v. female art–I don’t know exactly what point he was trying to make if any, but his manner suggested a politicization of his product.

Mark is a father of two. He has large muscles. He is working class. And he makes ceramics, egg shaped ceramics, wonky bizarre ceramics that look like oversized versions of what a child might make (in the 1970’s) as an ashtray for their parents in art class. They are very beautiful. They’re neither feminine nor masculine. They’re artefacts he makes by hand. The need to even attach gender labels to the production of art in 2013 seems unnecessary. It’s been covered. Boring. It could be said then, that Mark, as a heterosexual male, working class father of two, producing ceramics that are fragile and delicate, is somewhat radical. Denying the idea of this ‘craft’ being the sole domain of female artists.

But this isn’t the case. What is inherently radical about Mark’s work is his complete and utter disinterest in any of these issues. He’s making sculptures post-gender. Essentially with each ceramic he is creating a product which communicates the idea that the issue has been dealt with. I think Mark works in ceramic because he’s found that he enjoys doing it, that he’s good at it, and that sometimes, a ceramic egg is the most appropriate vehicle with which to deliver whatever aesthetic he’s interested in at the moment. So in this sense to me the work is radical, in that he is so far removed from the politics of the work he makes. It is a radicalism of complete nonchalance and disinterest. He’s not saying this work is not female work, or hey look I’m a man making work primarily designated to be created by female artists; what he is saying (or rather doing)–is demonstrating that ceramic is a very nice way for an artist to make art. Regardless of what’s inside your pants. An egalitarian gesture which denies the issue even being relevant anymore. To me this is a radical gesture.

Again with his paintings. There aren’t a whole lot of people making fast abstract paintings right now. Save the few who have become re-interested in minimalism, and again are using the most awful word in contemporary art: “investigation”. There are many artists who are still, seeming to not understand that DeKoonig dealt with this half a century ago, dabbling in abstract figuration. Look here’s an abstract painting, but wait! I see a face in it! Cicely Brown likes to bury her pornography in abstract painting. It’s a bit of a Where’s Waldo trope. There are words for this in psychology. Apophenia is the experience of seeing meaningful patterns in random data. More specifically, Pareidolia is literally what children do when they look for anthropomorphic imagery in clouds. What do you see in the sky honey? I see a bear Mommy etc. In fact it’s just water vapour, but you need to keep your kids entertained. There is a surfeit of this work being made right now, and in the recent past, so my contention is that there is no need to make more of it.

I feel that making completely abstract paintings right now is compelling, in that everyone thought that was all over. Looking at Mark’s work I imagine they are mostly done in a day, one sitting. The white is raw canvas. If I were forced to compare them to any genre, I would say that he is making Ab-Ex paintings. Some look like early Albert Oehlen paintings, and some look a bit like Stuart Davis (I realize both are not Abstract Expressionists)–but Mark somehow, even if there is a minute resemblance to those artist’s work, has managed to morph his own into what look like good old Clement Greenberg approved Abstract Expressionism. So some people might say that in 2013, to reengage with Abstract Expressionism is a radical gesture. Again this is not what I feel is radical about the work.

Ab-Ex art extolled the artist as mystical shaman, a serious thinker, tortured (Mark is hilarious), heavily involved in Poetics and Eastern Religion and just having an awful time in their head feeling quite tortured and unhappy. All the weeping in front of Rothko, even he had to kill himself. If you’ve spent time at Mark’s house, it’s not the Cedar Tavern. It’s a good time. The only visible clock is Garfield, his googly eyes trailing you all over the room like Mona Lisa and his tail swinging back and forth like a pendulum. I don’t see much angst in his life. He does not appear to be tortured. I don’t think he is suggesting his hand is a conduit between the canvas and God.

Here are the titles of some Cy Twombly paintings (mystical genius, exiled in Rome, multi-million dollar paintings, born in the wrong century, cliché cliché cliché…)

Leda and the Swan
Venere Franchetti (completely washed out painting that looks like it took about two hours)
Olympia
The Bacchus Series
The Supplement, 2006 – Sotheby’s Estimate 8 – 12 million USD
Bacchus Psilax (?)
Sunset Gaeta
Ferragosto III
Nine Discourses on Commodus
Untitled (Bolsena)
Quattro Staggionia
Poems to the Sea (how will they hear these poems?)

Why does Cy use Italian so much? Everyone knows he was born in Lexington Virginia! But, don’t get me wrong. Cy Twombly is a very good, important painter, and influenced many people. Without Twombly there would have been no Jean Michel Basquiat. His work is important. I like it. It’s messy and strange, drippy, hastily crafted, and once in a while he likes to write a word on the picture from some Greek Myth or something out of Dante. That’s fair, there was a time for that. But in doing so, he was, like Jackson Pollock, an exemplar of the artist as Gnostic and Mystic and Guru on the Mount.

Here are the titles of some of Marks’ paintings, which are messy, and sometimes drippy, and hastily crafted, and full of dashes and blotches of strange colour and weird forms and confusing geometry;

Dan is So Stupid
Tall Grass no Phone
Portrait of Mick Jagger (completely washed out abstract painting that looks like it took about two hours)
Lady Baltimore
Pour me out the Window
Excellent Service
The Branch hit the Window
Grapes (there is no purple or green in this painting)

Twombly notoriously lived in a castle outside of Rome. He had a lot of statuary. The gardens were sublime. Long strolls reading Diogenes in the original Greek. Perhaps an obscure tailor made hat, the name of which only a handful of people in the world can pronounce.

Mark lives in a coach house in Strathcona. Next to his front door is a framed photograph of the actor Denzel Washington. DFW. David Foster Wallace? Denzel Fucking Washington!

On its surface the work is straight Ab-Ex painting. But the radical nature of what Mark is doing lies in the way he undercuts the arch-seriousness and pomposity of that genre of work with his titles. Dan is So Stupid could be called Elegy in Green and Yellow, For the People of Pompeii, something in Greek, For Frank O’Hara, Eulogy at the Funeral of Holofernes. But it’s not. It’s called Dan is So Stupid. I know Dan, he’s not. And again, if Mark were consciously trying to undercut and satirize the mystic self importance of rich white male abstract painters from America in the 1950’s, there would be an angle there to explore, a hook for people to hold onto. But I don’t believe that’s what he’s doing at all. So again the work is radical in its absolute and complete indifference to the history of the very painting he’s working on.

It occurs to me that this might appear that I am saying that Mark is naïve. He’s not. He is a self-taught artist, this might be why his work is so good. He isn’t encumbered by the manifold expectations of the audience, worried about the issues inherent in his work, concerned with awful things like investigating, and interrogating painting. Self taught is best taught. Mark is a smart guy. That intelligence is apparent in his complete and total dismissal of ‘issues’ in art. Art about issues, it doesn’t work. What we’re doing is Visual Art. Does it succeed visually is really the only issue that matters. And Mark’s work does succeed visually. He makes very beautiful work.

The possibility exists that his paintings and ceramics can be viewed as political, but that’s not his fault. Don’t blame Mark for that. The beauty of art is it’s polysemic nature in which everyone’s reaction is a correct reaction, and the intention of the artist in completely irrelevant. Political art tends to be stultifyingly boring. And rarely succeeds as visual art. You really only need to look at one Barbara Kruger to understand all of her work. This is not to discredit her work. Felix Gonzales Torres made political work that was beautiful to look at. Mark however isn’t a woman struggling to be noticed in a male dominated New York art world, Mark isn’t a gay artist who has died of AIDS. The politics of a middle class white male living in a world class city; there’s not much to work with there, and were he to attempt to approach it from that angle, it would be tired white guilt, or amelioration, or apology art. The reason that Mark’s work is unique and interesting is because he is doing it the old fashioned way. Because he has to, because he enjoys it, and because he does it well. And in 2013, to make work from this position, is also a tiny bit radical.

Brad Phillips – January 24, 2013

To see the full article please visit the The Rusty Toque.

For more information about Mark DeLong please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Vanessa Maltese Reviewed By Magenta Magazine

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Gallery artist Vanessa Maltese had her recent show at the gallery was reviewed in the latest issue of Magenta Magazine.

For her first solo exhibition at this gallery, Toronto-based Vanessa Maltese, who has made a name for herself as a painter of sharp and smart abstractions, put aside her brushes and presented a minimal, yet surprisingly gallery-filling, installation. With a few deceptively simple gestures, Maltese’s installation, The Compleat Gamester, lead me down a couple of interpretative paths.

First, the installation felt like a piece of institutional critique, a sly look at the idea of being ‘allowed’ to interact with art, and how we approach artworks physically and psychologically within the white cube. Observing gallery-goers during the show’s run revealed the level of discomfort some feel in such spaces. Towards the front of the gallery, Maltese seemingly placed a barrier that stopped some people in their tracks. This ‘impediment’ was nothing more than a grey strip of wood with the outline of hands cut into either end lying on the gallery floor. It could have been stepped over easily, but people paused, pulling back their children or picking up their dogs, wondering if they were permitted to proceed through the installation.

Of course, we were expected to step into the installation, the middle of which contained yellow billiard balls, clustering on the gallery floor, and two large, red silhouettes of men’s profiles hanging across from each other. Once ’inside’, I couldn’t help looking at the display as a metaphor for the art world, the billiard balls amassing in some areas of the floor – like dealers, artists, curators and collectors grouping together in major centres, and forming cliques within them – and the two large profiles as the art world’s gate-keepers – the blue-chip galleries, superstar artists, and jet-setting curators and collectors, making the decisions on what art will be sold, made, seen and purchased, and thereby deemed ‘important’. Standing in the middle of this large ‘game board’, it also crossed my mind that both New York’s Chelsea gallery district and Las Vegas’s casino strip are full of ‘dealers’ – speculating on art on a par with trying your luck at the poker table.

Considering the billiard balls further, it also occurred to me that the gallery containing Maltese’s installation is in the middle of Toronto’s rapidly gentrifying Little Portugal neighbourhood. Once home to dozens of smoky and somewhat dingy men’s clubs (containing pool tables, of course), the storefronts now contain galleries, hip bars, coffee shops and restaurants, and independent clothing and design retailers catering to the young couples and families moving into the area. It seems the rules of the games we’re made to play – whether in the art circles we’re part of or the neighbourhoods we frequent – are always changing.

To see the full article please visit Magenta.

For more information about Vanessa Maltese please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Brie Ruais Featured in Magenta Magazine

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Brie Ruais had her recent show at the gallery reviewed in the latest issue of Magenta Magazine.

As technology expands its relentless infiltration into our everyday lives, experience itself becomes increasingly linked to some form of technological interface. The way we see the world, the world of language and of things, and how these things are seen and absorbed, is rapidly changing. First-hand experience of an event or an object is rapidly becoming replaced by the second-hand experience of viewing via monitors. Flat, weightless, sensually deprived projections on a screen that have the removed presence of a spectre or apparition. Broken souls with no mass or volume representing a complete removal or relegation of the body.

With these thoughts running through my mind on a drizzly Saturday, it was refreshing to come across a work titled Nearly Torn Away (2013) by American sculptor Brie Ruais at Toronto’s Cooper Cole. The work, a large rough circular ring composed of glazed ceramic, is explicitly about the body and emphatic about its connection to it. Clay is perhaps one of those artist materials that most effectively reflects the interface of body and action, recording and preserving directly the physical impressions made upon it. These interactions could not be more explicit in this work. The artist begins with a block of clay (measured to match her own personal weight) and frames her ensuing activity with a directive or set of instructions, a basic formal strategy that informs the physical, performative aspect of the work. “Push clay in two directions from a central starting point” or “push it out from the centre as far as it will go.” The end result is a physical manifestation of the aforementioned prescribed actions, traces and impressions of direct human contact.

From across the gallery, the piece resembles a rusted metal ring, a blown-up version of something you might find embedded in an asphalt road, repeatedly run over and subjected to years of elemental abuse. As you approach, however, the impressions and details of touch become more and more apparent. Beyond primitive, the work exudes a sort of basic primordial exuberance, reveling in its own simplicity and directness. It touches on all those things contemporary life seems to be in the practice of shedding. In its simplicity and directness, Nearly Torn Away represents a desire for an increased awareness of our own physical selves and a desire to represent this awareness in a tangible, non-reproducible object, which, to be understood, must be seen in person or not seen at all.

To see the full article please visit Magenta.

For more information about Brie Ruais please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Sara Cwynar Reviewed by New York Times

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Gallery artist Sara Cwynar was recently reviewed by Roberta Smith for The New York Times.

The artifice of photography is elastic and alluring, and has allowed many younger artists to build on the achievements of the early-1980s Pictures Generation. Among them is Sara Cwynar — a graphic designer by day, and photo-artist by night — whose witty, visually rich images make an excellent impression here.

Ms. Cwynar’s medium-size works range from simple distortion of found images (achieved by jiggling them as they entered the scanner) to dizzying mixtures of appropriation, photography, rephotography, collage and studio setups. In the making of an image, she works on the horizontal and then on the vertical, slices up and then reassembles her images and also shifts from black and white to color film. It seems that Ms. Cwynar (pronounced SWIN-ar) wants a photograph to be anything but coherently two-dimensional. (Possibly to avoid the “Flat Death” of her show’s title?)

In “Toucan in Nature (Post It Notes),” the bird sits among weirdly stiff, geometric leaves. They are actually covered with hundreds of green Post-it arrows, stuck to the image, which was then rephotographed. Things are further confused by the pieces of masking tape that hold the sheets of the image, which has been cut into a grid, in place.

“Islamic Dome (Plastic Cups),” a shadowy black-and-white image, is even trickier regarding space and process. Its vaguely architectural arrangement of plastic cups and objects is seen against a backdrop of a black garbage bag, but the whole image is visibly seamed, and the seams are joined with little bits of colored tape.

Some of Ms. Cwynar’s images are too simply self-referential, but this show indicates that when it comes to confounding the eye and mind, she has a lot to work with.

Her current exhibition at Foxy Production continues through May 3, 2014.

To see the full post please visit The New York Times.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Art Fair: NADA New York 2014

NADA

COOPER COLE is pleased to announce our participation in NADA New York.

The gallery will be exhibiting a solo booth of works from Sara Cwynar.

NADA New York – May 9-11, 2014
Pier 36 – Basketball City | 299 South St. New York, NY 10002
(the corner of South St. & Montgomery St. on the East River)

For press and sales information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Sara Cwynar in Interview Magazine

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Gallery artist Sara Cwynar was recently interviewed by Jackie Linton for Interview Magazine.

Sara Cwynar is a multi-disciplinary photographer who grapples with the photograph: in terms of its history and its role in building a shared worldview. Among the unending swell of visuals that we confront in our daily lives, her sculptural and manipulated photographs break down the smooth edifice of the commercial image, and force us to look again. While most photographs we see are re-touched and falsified in their presentation, her work deliberately bears an index to reality on its surface, and feels nostalgic for analog means.

With an upcoming solo exhibition at Foxy Production, “Flat Death” seeks to provoke our conceptions surrounding kitsch and images, in both cultural value and consumption, and how time can act as an equalizing force, often converging these notions together. We sat down to talk more about her ideas behind the show.

JACKIE LINTON: You were recently inspired by the book “Roman Letters” by Evan Calder Williams, and I notice that Roman columns are a visual metaphor that appear both in his book, and in your work. What attracts you to the idea of these columns?

SARA CWYNAR: I love that book so much, but I didn’t read it until I had already made the work—and I just wanted to high-five him when I came across it. One thing I’m drawn to that he talks about is the commodification of these tourist sites, and how a drink, or a hot dog, costs more if it’s in the shadow of the monument, than if it’s bought around the corner. I really like the idea that these types of relics are supposed to hold history and meaning, but that they’ve been emptied of it, and turned into a commodity. It becomes a thing that just people take pictures of, that resurfaces in vacation snapshots, tourist guides, and encyclopedias—and how far these images have come from their original meaning or the historical context they once had. In the column pieces, I am collecting examples of where these architectural qualities have manifested themselves through party cups, and in these cheap objects that everyone has in their house, things that I find in Goodwill, or junk stores, or places where they’ve been intentionally discarded.

LINTON: The Roman dynasty was so far back that we don’t recall that much about it, no negative subtext of wars, travesty or bloodshed.

CWYNAR: Yeah, it speaks to an idea that Nietzsche had of “eternal recurrence,” because this history can’t come back, and whatever happened in Rome will never return, so we’ll just turn it into however we want to remember it, including these pillars of civilization, literally, becoming plastic party cups or junk objects—that’s the aspect of kitsch that I’m interested in. People will often look at the floral still lifes I make and say, “Yeah, this is kitsch, so what’s the point?” But the more meaningful version of kitsch is that even the darkest moments in our history can become however we want to remember them. Images play a large contribution to how that happens, creating a specific history that everyone knows and remembers, and erases what happened before.

LINTON: The flower arrangement still lifes are sculptures that are building on what was previously there—the arrangements of objects you’ve collected are built on top of an archival image of flowers. It’s almost how culture tends to build on itself, flattening the past, so it can be built upon further.

CWYNAR: Well, yes. Remaking the floral arrangements, resurrecting the image with these discarded, junk objects—it’s this idea how we are constantly adding more materials to our lives, flattening and emptying the past, and it cycles over and over. A lot of the objects that remake the floral still lifes are intentionally these synthetic faded plastics that make these weird colors. They are supposed to mimic the way the original photograph has sort of faded and warped over time.

LINTON: Do you collect objects or images from a particular era?

CWYNAR: I collect images from the ’60s and ’70s, mostly. It was sort of the end of this idealism in printed matter. National Geographic presented this sort of naive modernist ideal, an idea that they could bring the whole world to the viewer through their images. Now, we look back, and these photographs seem like such contained objects in their presentation, pre-Internet, and you can really see them as an encapsulated units of knowledge. An encyclopedia, for instance, claiming to contain all knowledge from A to Z. Bringing the world to you through this one 150-page magazine. Now, this idea is impossible.

LINTON: There are a lot of reversals at play in your work—what’s beautiful is made of junk, what is flat is really sculptural. And while you’re trained as a skilled graphic designer, formerly at The New York Times Magazine, you incorporate an excruciating obsessiveness in crafting these analog images. I’m sure it would be much easier to make these works on your computer.

CWYNAR: Oh yeah, totally. There’s definitely that compulsiveness or the need to “work”—I am really reluctant to use the word “Marxist,” but my work contains some of these politics. It’s something I’ve come about through my own obsession through collecting, buying, and consuming, and being in this industry where you don’t even think about it, working as a graphic designer and making commercial images. I don’t think I’m above it, but I think that’s what plagues me, and why I want to make art in an analog work practice.

LINTON: You feel the need to put yourself to the test of actually making things.

CWYNAR: Yeah, these images have to exist as real things. I can’t just create something that looks like the image I have in my mind. The idea is also rooted in this obsession to make an external version myself through objects. Christian Boltantski says this really well, that by making this other version for myself, “I may finally rest.” He can go on existing through this archive and constructed version of the self.

LINTON: You’ve also mentioned that you’re going against the grain of Internet consumption—attempting to slow down the smooth process for people to consume your images, by incorporating these production dualities, creating trompe-l’œil effects.

CWYNAR: As nostalgic and analog as my work is, it’s often responding to the Internet—I’m not just fetishizing these images, but responding to the way we experience images now. You look at my photographs, and you read it in an instant as you do with everything, and then hopefully you realize, “Oh, wait, it’s not quite that”—maybe you could think about everything you’re looking at a little bit more, maybe you notice some of the objects as things you own or relate to, or you could have the process thrown into question.

LINTON: Much unlike a computer desktop, your studio has heaps of archival images everywhere, sorted by vague, often poorly identifying categories: “outdoors,” for instance, or the color blue. In the same way that your work disrupts the idea of smoothness, your practice of producing these images seems to be trying to break down a smooth process. The production looks crazy—and the photographs often take more than a week to make.

CWYNAR: [laughs] Well, one thing is that I collect at a faster rate than I can organize. And I have an ever-expanding non-hierarchical archive in my mind. For instance, I know I have this amazing image of a tambourine somewhere in my collection, but I just have to find it. And then I’ll find 10 other things in that process of finding it, so it’s generative. If I could, I would probably try to organize it more… [pauses] There is an organizing principle! But it’s just not very articulate, nor very good.

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- Portrait by Jody Rogac

To see the full post please visit Interview Magazine.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Sara Cwynar Interview on Aperture

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Gallery artist Sara Cwynar was recently interviewed by Christopher Schreck for Aperture about her recent exhibition at the Rosenwald-Wolf Gallery, University of the Arts, Philadelphia.

Blending elements of photography, sculpture, collage, and design, Sara Cwynar’s work explores the processes by which images and objects acquire, change, and lose their meaning over time. In her most recent series, “Flat Death,” the New York—based artist reimagines vernacular images as dense arrangements of found objects. By employing various analog and digital methods of intervention, she produces striking, highly textured imagery that confirms the expressive potential of seemingly archaic materials through the subtle subversion of photographic tropes.

In addition to her recent second monograph, Kitsch Encyclopedia, Cwynar will follow her current exhibition at Rosenwald-Wolf Gallery, Philadelphia with her first solo showing in New York. Flat Death will open at Foxy Production on Friday, April 4th.
Christopher Schreck: Until recently, you were a staff graphic designer at the New York Times Magazine, where you produced the same brand of imagery you’re dealing with in your work. How would you say that experience has informed your practice?

Sara Cwynar: Working at the Times was a really formative experience for me. Producing content for commercial and editorial purposes gave me a much better understanding of the way images work, how they’re affected by context and time. Commercial imagery is really about reflecting a particular moment—some images might stand the test of time, but many become dated almost immediately after they’re made. But I also feel like that’s become complicated by the fact that there seems to be a lot of nostalgia in design and photography right now. There’s a lot of combing through image archives for inspiration, talking about how cool and kitschy and funny these old images are to us now. What’s interesting is that people often don’t seem to think about how the images they’re currently making will inevitably share the same fate. It’s something I try to build into my work now. I like the idea of my pictures embracing that process, of retaining this sense of bad taste, while still being contemporary.

CS: It’s interesting, because while it’s a given that commercial images are both driven and ultimately superseded by these cycles of fashion, it seems to me that artworks often function the same way.

SC: Exactly! I’m very interested in the idea that the highly produced art images we see in galleries are subject to the same degradation in value and taste as anything else—that they can become just another item we use and leave behind. It’s something I actively try to build into my images, where they look at first like simple recastings of throwaway imagery, but then, upon closer inspection, reveal themselves as being something else entirely, almost like a trompe l’œil painting.

All the images we make are subject to some sort of change in value and reading as soon as we put them out into the world. It’s really clear when you look at how images circulate online: they enter the stream and end up in unpredictable places. For example, when you see my pictures at reduced sizes on a screen, you really can’t tell what’s going on. They just look like the original, mundane images, so people might not realize they’re really looking at an intricately composed artwork. If you look at how my work has progressed, my images have been getting denser and denser, and that’s in part because I wanted to make them harder to read in passing, online. My earlier “Color Study” pieces flipped around the internet too easily. There was no reason to think you weren’t getting the full experience of the work by viewing it on the computer—which is fine, since not everyone is in New York and can see the works in person. It’s a different way of experiencing the work. It’s hard to get much information out of a 600-pixel-wide jpeg. So in moving forward, I’ve wanted to make sure that what you’re seeing online is not the whole story.

CS: You seem to be asserting a more pronounced materiality in this body of work: rather than using straight shots or scans as in previous series, many of these latest images were composed like mosaics, with separate sheets connected with colored tape. In other instances, you’ve layered post-it notes or stickers directly onto the print’s surface before re-photographing it. What led you to experiment with these new techniques?

SC: One of the major themes in my work is this idea of construction, which speaks not only to the way I physically combine objects and rebuild images, but also to how photography uses framing to create narratives, and how we as viewers draw meaning from those narratives. I see these new techniques as a literal way of reinforcing these ideas.

With some of these new pieces, I scan the original found image and use InDesign to make a much larger, segmented version of the file. Once that was printed out and arranged on the studio floor, I then re-build the images with various objects and shoot the piece from above. Working this way, I was able to get much deeper into the details and the tones of the original printed matter.

Incorporating these different techniques further confuses what’s already a complicated viewing experience, where each image initially reads as a kind of collage, but upon closer inspection is revealed to be a photograph of a still-life arrangement, a single image rather than multiple parts. The tiling approach allowed me to introduce another imaging technology into the process: these pictures now go from found pieces of printed matter to digital files, to low-quality laser prints, and back to high-quality analog film negatives before they are finally printed.

CS: As you’re composing these still-life arrangements, are you selecting items thematically? Do you expect your audience to find—or to invent—associations between those particular objects or images?

SC: What ties them together isn’t necessarily their specific content, but rather that they show how content and function can change or be lost over time. I think a lot about how these images were once the height of style, or that these objects once served a particular function. They will inevitably lose their relevance and get left behind, but they never physically go away. They’re still around, clogging up household junk drawers and remaining in our collective psyches, and that’s what I’m looking to as my source material.

I’m working with this huge, democratic archive that’s waiting there to be drawn from, making still-lifes from the debris I’ve collected, and re-presenting it all in a contemporary art context. Having said that, it’s also possible that certain aspects of the content might work its way into my pictures. I am drawn to the modernist idealism you find in mid-century printed matter: this sense of optimism that seems foreign, even naïve to us today. If you look through old issues of Life or National Geographic, it’s palpable, and it really captures something about the culture at that time. The same goes for book covers. I like to think that in reconstructing those images, my work might somehow retain that tone, because the truth is that I love this material. The items may be considered “tasteless,” but they genuinely appeal to my own taste, and I like the idea that by resurrecting them as subjects for art, I’m putting them back in “good taste,” so that others might find value in them again.

CS: Your first New York solo show opens at Foxy Production later this week. What can audiences expect from this new set of images?

SC: I really wanted the work in this show to span the tropes of the photographic canon, so I worked with a much broader range of imagery: there are commercial still-lifes, floral arrangements, nature photographs, tourist landmarks, encyclopedia images, printing tests, images from how-to manuals, and, for the first time, portraits. I think it’s a much more comprehensive overview of the medium. I’ve also been experimenting with new ways of approximating the tones of the original printed matter. In the “Display Stand” pictures, for instance, I isolate individual sections of the original image and construct still-lifes of those details using other objects. I then shoot those arrangements, shrink the photos down to 4×6 quick prints, and place them on top of the original image before making the final photograph, combining up to thirty different still-lifes to produce a single work.

To see the full interview please visit Aperture.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Artist Talk: Brie Ruais

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Join us on Saturday March 29, 2014 at 1pm for an artist talk and book signing with Brie Ruais.

Brie Ruais (b. 1982, Southern California) received her MFA from Columbia University’s School of the Arts in 2011. Most recently, she has exhibited with Nicole Klagsbrun, The Horticultural Society, Salon 94, The Abrons Arts Center, The HVCCA, and Eli Ping in New York, as well as Halsey McKay in East Hampton, Marc Selwyn in LA, and Xavier Hufkens in Brussels. On the occasion of her solo show, Nicole Klagsbrun published Ruais’ artist book, XO, which includes her resource photographs and an interview with Sarah Sze. She has recently been featured in Lilly Wei’s “Claytime!” (Art News) where her work was discussed alongside artists’ Francesca DiMattio, Arlene Shechet, and Nicole Cherubini. Ruais’ work was selected by Candace Worth as one of 20 artists featured in Architectural Digest’s “The Next Generation”. In 2011, she was selected for a guest artist exhibition at Vox Populi in Philadelphia, and the artist-in-residence program at The Abrons Arts Center. Ruais currently lives in New York, USA.

Her current exhibition marks the first time Ruais has exhibited in Canada.

Brie Ruais
Artist Talk
Saturday March 29, 2014 at 1pm

COOPER COLE
1161 Dundas St. West
Toronto, Canada

For additional information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

News: Sara Cwynar Exhibition at University of the Arts, Philadelphia

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Gallery artist Sara Cwynar has a solo exhibition opening at the The University of the Arts Rosenwald-Wolf Gallery in Philadelphia.

Sara Cwynar
March 17 — April 11, 2014
Rosenwald-Wolf Gallery
Anderson Hall
333 S Broad Street
Philadelphia, PA 19102
United States

Cwynar’s “Flat Death” series comprises manipulated found pop-culture imagery derived from how-to darkroom manuals (discarded printed matter for obsolete photographic processes marked with digital noise) and still-lifes constructed over stock imagery. The latter tonally rebuild the decontextualized pictures out of everyday debris, commenting on the inevitable obsolescence of objects, images and imaging technologies. By questioning the values of the image, Cwynar suggests how fashionable imagery shifts in meaning throughout time. Via vernacular trompe l’œil reworked to disrupt learned looking patterns, Cwynar affects the way the viewer typically views the every day (often without really seeing).

A native of Vancouver, Cwynar now lives and works in New York. Her artworks have been shown widely including at Foxy Production; Higher Pictures; ICI; the New York Book Fair with Printed Matter; the Museum of Modern Art, New York; Cooper Cole Gallery, Toronto; Foam Photography Museum, Amsterdam; Art Basel Miami; and the Royal College of Art, London.

Her works have been published by Printed Matter, Blonde Art Books, New York, and the Camera Club of New York. She has contributed to Martha Rosler’s Meta-Monumental Newspaper Museum of Modern Art, New York; “Living the Dream” – Surreal Artists Portfolio, Bullett magazine, New York; 
the Water Issue, Capricious magazine, New York; “Sara Cwynar,” Blink Photography magazine; “Sara Cwynar” Behind the Zines: Self Publishing Culture, Gestalten; “Artisan: Sara Cwynar” by Dorothy Rivers, Color magazine, “Sara Cwynar: 20 Under 30 New Visual Artists,” Print Magazine; “Looking for Cancon at Miami Art Basel?” Mclean’s Magazine, Canada; and “Talents To Be Seen,” Foam magazine, The Netherlands.

Opening Reception: March 21, 5 – 7:30 p.m.

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“Contemporary Floral Arrangement 2″
(Plate 24. Color Changes and natural colors are combined effectively in this mass arrangement of contemporary style), 2013
Chromogenic print, 60″ x 44″, 152.4cm x 111.76cm.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Installation: David Kennedy Cutler and Ryan Wallace



Installation images from David Kennedy Cutler and Ryan Wallace’s current show are now online.

This exhibition continues at the gallery until March 29, 2014.

Click here to see photos of the installation.

Click here to view selected works from this exhibition.

For press and sales information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Installation: Brie Ruais



Installation images from Brie Ruais’ current show are now online.

This exhibition continues at the gallery until March 29, 2014.

Click here to see photos of the installation.

Click here to view selected works from this exhibition.

For press and sales information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

News: Sara Cwynar Acquired by The Dallas Museum of Art

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Gallery artist Sara Cwynar had a work recently acquired in to the permanent collection of The Dallas Museum of Art.

The Dallas Museum of Art presents Never Enough: Recent Acquisitions of Contemporary Art, an exhibition drawn exclusively from the Museum’s strong holdings of contemporary art. On view March 8 through July 20, 2014, in the DMA’s iconic Barrel Vault and surrounding galleries, the exhibition brings together more than 50 works in various media that have entered the DMA’s collection within the past five years. A majority of the works will be on display for the first time since entering the Museum’s collection, including seven new acquisitions made in February of this year.

“The Dallas Museum of Art has one of the leading collections of contemporary art in any encyclopedic museum in the country,and Never Enough: Recent Acquisitions of Contemporary Art demonstrates the vigor of our contemporary art collecting program and the deep commitment of the curatorial team to highlighting the work of living artists for our visitors and in our community,” said Maxwell L. Anderson, The Eugene McDermott Director of the DMA.

The works on view in Never Enough entered the DMA’s collection between 2009 and 2014 and were produced from the 1960s to the present. The Museum’s recent acquisitions of photographic works are a highlight of the exhibition, emphasizing the DMA’s focus on photography as a conceptual tool, and including artists such as Michele Abeles, Will Benedict, Lucas Blalock, Josh Brand, Sara Cwynar, Douglas Huebler and Erin Shirreff. In addition, the DMA will premiere for the first time outside of Asia a body of nine sculptural photographs from 2006 by Yuki Kimura, which represents the largest holding of the Japanese artist’s work outside of her native country.

The exhibition will also include a new work by conceptual artist Darren Bader—obi and/with SCOBY; oak with/and smoke; owl and/with towel; oar with/and store; oil with/and mohel; oat and/with note; orc with/and fork—whose elements will expand beyond the exhibition galleries into the Museum Store and elsewhere. Additional highlights include a large-scale video installation by Charles Atlas and interactive pieces by Atsuko Tanaka and Franz Erhard Walther, both on public view for the first time.

“This exhibition encapsulates the DMA’s ambitious contemporary program, aimed at collecting and presenting the most interesting and experimental work being made today,” stated Gabriel Ritter, The Nancy and Tim Hanley Assistant Curator of Contemporary Art. “I am excited to share the increasingly wide range of contemporary artists and practices that now call the DMA’s permanent collection ‘home.’”

Never Enough: Recent Acquisitions of Contemporary Art is organized by the Dallas Museum of Art and curated by Gabriel Ritter, The Nancy and Tim Hanley Assistant Curator of Contemporary Art. The presentation is made possible by TWO X TWO for AIDS and Art, an annual fundraising event that jointly benefits amfAR, The Foundation for AIDS Research and the Dallas Museum of Art, and by the Contemporary Art Initiative. Air transportation provided by American Airlines. The exhibition is included in the Museum’s free general admission.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Upcoming: David Kennedy Cutler and Ryan Wallace

David Kennedy Cutler and Ryan Wallace
Flatbed Bends

February 27 – March 29, 2014

Opening reception: Thursday February 27, 2013 / 6 – 10pm.

For more information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

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News: Maya Hayuk on the cover of New American Paintings

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Gallery artist Maya Hayuk is the cover artist on the latest issue of New American Paintings.

“These large-scale paintings are not sketched out in advance; they are improvised reactions to and collaborations with the environments they occupy. They are built up in layers of loose, wet, deliberate, rapid, rigid, and blown-out gestures. While this process could go on forever, time and weather usually dictate the moment of completion. I rely on the imperfection of my arm’s reach and trust in my own physicality, as well as in the capability of whatever cherry-picker or scaffold I am standing on. Even when I have the luxury of working with an assistant, the paint is applied almost entirely by me—this is important to me. My work is a physical endurance performance and a kind of meditation. These paintings live in public spaces that become personal for those who make selfies with them; they do not last forever, and they make me really, really happy.”

For more information about Maya Hayuk please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Art Fair: Material Art Fair, Mexico City 2014

COOPER COLE at Material Art Fair, Mexico City 2014.

Presenting works from artists Sara Cwynar, Owen Kydd, and Vanessa Maltese.

For more information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

News: Sara Cwynar Featured on All Day Everyday

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Gallery artist Sara Cwynar was recently featured on All Day Everyday.

Sara Cwynar is a multifaceted mix media artist based in Brooklyn, working in photography, installation and bookmaking. Last week’s Los Angeles Art Book Fair marked the launch of her second book, Kitsch Encyclopedia, released with Blonde Art Books, which will be followed by a forthcoming book this spring, “Pictures of Pictures” published with the Printed Matter Emerging Artists Publication Series.

“My art practice involves a constant collecting and re-working of an ever-growing collection of objects and images, some of which I find and some of which I take myself, often using my iPhone as a reference tool. This results in thousands of pictures of other pictures, objects, and random things that might work their way into something eventually. These are some of these images.”

To view the full post please visit All Day Everyday.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Art Fair: Material, Mexico City

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COOPER COLE is pleased to announce its upcoming participation at Material Art Fair, Mexico City.

The gallery will feature artists Sara Cwynar, Owen Kydd, and Vanessa Maltese.

Material Art Fair, Mexico City’s new contemporary art fair dedicated to emerging practices, will celebrate its first edition from February 6th – 9th of 2014 at the Hilton Mexico City Reforma, a five-star hotel in Mexico City’s Centro Histórico.

The fair will feature 40 national and international exhibitors, all of which have been selected because of the quality of their proposals as well as their general commitment to adventurous programming and support for young artists.

 

VIP Preview
Thursday, February 6th (Invitation Only), 12 – 6PM

Public Hours
Thursday, February 6th – 6 – 10PM
Friday, February 7th – 12 – 9PM
Saturday, February 8th – 12 – 9PM
Sunday, February 9th – 11 – 7PM

 

For more information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Installation: Endless Vacation

Installation images from Endless Vacation are now online.

This group show features works from:
Joshua Abelow
Anne-Lise Coste
Mark DeLong
Georgia Dickie
Jesse Harris
Vanessa Maltese
Jenine Marsh

Endless Vacation continues at the gallery until January 18, 2014.

Click here to see photos of the installation.

Click here to view selected works from this exhibition.

For more information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Travess Smalley featured in Forbes

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Travess Smalley was recently featured in Forbes Magazine’s third annual Top 30 Under 30.

West Virginia-born Smalley blends computer graphics with physical collage-making. His colorful pieces look like a cross between a painting and a screen saver. One piece has Rothko-like stripes in blues, greens and yellows, with what appear to be cut-outs layered on top. He has had solo shows in New York, Toronto and Milan.

To see the full list please visit Forbes.

For more information about Travess Smalley please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: Lauren Luloff Reviewed in The New York Times

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Gallery artist Lauren Luloff was recently reviewed in The New York Times by Roberta Smith.

“As a painter, Lauren Luloff excels at the extremes of ideas and touch. Her mongrel conception of her medium — as painting, textile, patchwork collage, punctured surface and abstraction — and her equally confident handling of different materials and techniques, are sometimes more exciting than the results.

Of the collage-paintings in her latest show, the best is “Flame Violet and Golden,” which contrasts dark patterns with an explosion of pink, and was exhibited in a 2012 summer group show at Galerie Lelong in Chelsea, where it knocked me out. Nothing else here quite does that, although most comes close.

Starting with tight, primed muslin, Ms. Luloff applies swaths of patterned fabric that she sometimes finds but usually makes, either by block printing or by drawing with bleach on colored bedsheets. Areas of abstractly worked oil paint are added to some of the spaces between the fabric, as are cuts through the surfaces that may expose stretcher bars or the wire screening behind the muslin.

The range from tight to loose pattern, from pattern to expressive painting, is intriguing in concept, as is the emphasis on a painting as a physical object. But these works are often too arbitrary and random in totality. They lack internal sense, or rigor, especially in the application of the oil paint.

Repeatedly, it is the dark or earthy bleach-drawn patterns and motifs that draw the eye as the freshest, most convincing parts of the paintings, the areas where Ms. Luloff seems most engaged and present.”

For more information about Lauren Luloff please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Seasons Greetings!

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COOPER COLE will be closed for winter holidays between December 22, 2013 – January 6,2014.

The gallery will reopen on January 7, 2014 with regular hours.

Our current exhibition ENDLESS VACATION continues until January 18, 2014.

Our 2014 program opens with solo exhibitions from Tessar Lo and Ted Gahl on Friday, January 31, 2014.

Have a safe and happy holiday season!

Upcoming: Endless Vacation

Endless Vacation
Joshua Abelow
Anne Lise Coste
Mark DeLong
Georgia Dickie
Jesse Harris
Vanessa Maltese
Jenine Marsh

December 14, 2013 – January 18, 2014

Opening reception: Saturday December 14, 2013 / 6 – 10pm.

For more information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

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Art Fair: Untitled. Miami Beach 2013

COOPER COLE at Untitled. Miami Beach 2013.

Presenting works from artists Georgia Dickie, Joseph Hart, Andrea Pinheiro, and Ryan Wallace.

For more information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

News: Sara Cwynar Wins Emerging Artists Publication Series

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Congratulations to gallery artist Sara Cwynar for being one of 6 artists selected for Printed Matter’s first ever Emerging Artists Publication Series, a program that allows book artists to publish works experimenting with the medium in new and exciting ways.

“Printed Matter is pleased to announce the winners of our first ever Emerging Artists Publication Series, a program that allows book artists to publish works experimenting with the medium in new and exciting ways. From more than 300 artists’ book proposals submitted by artists and collectives based in New York, the six projects selected include those by:

Anne Callahan
Sara Cwynar
Dawn Kim
Clive Murphy & Aengus Woods
Chris Nosenzo
Max Stolkin

The artists will be working with Printed Matter and designer Garrick Gott to develop their proposed artists’ book projects, which will be published individually in a loose serialized format over the next year. In addition to having their work designed and printed, the artists will be given the opportunity to host a book launch and exhibition at our storefront in Chelsea. Congratulations to our Emerging Artists and we look forward to realizing your projects!

We were genuinely excited by the vast range of entries we received from our open call, so many of which we did not have the means to accept despite their merits. The overwhelming number applications we received is a strong indication of the need for such a program designed exclusively for book artists, as well as the growing interest in the medium itself. We hope the Emerging Artist Publication Series will become one of Printed Matter’s standard programming activities that help garner an appreciation for artists’ publications. Thank you to everyone who submitted.

Proposals were reviewed by a jury comprised of artist Tauba Auerbach, MoMA Library’s David Senior, our Consulting Design Director Garrick Gott, and the Executive Director of Printed Matter James Jenkin. The Emerging Artists Publication Series is made possible by the support of the Jerome Foundation.”

For more information about each individual project please visit Printed Matter.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

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Press: Andrea Pinheiro featured in Magenta Magazine

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Gallery artist Andrea Pinheiro was featured in the recent issue of Magenta Magazine.

“In Pinheiro’s practice, as in Antonioni’s film, tacking photos to the wall is a gesture of continuance. Photographs can preserve unnoticed details that observers can discover later; attentive audiences can extend the life of a captured moment. Pinheiro sees that truth and raises it: the image on the wall may continue imparting information, and meanwhile persist in recording.

Often thematizing the receptivity of the photograph, Pinheiro’s work links sensitivity to objecthood. Mutability shows up in materiality; texture implies perpetuity. For the series Safn (2010 – ongoing), the artist painted onto pictures she took of the eponymous gallery space. Enlarged from postcard to poster-size, the applied paint reads almost sculptural.

The brushstrokes are explicitly expressionistic, the photographs implicitly so. Both are personal, and to some degree Safn comprises indexical portraits of the artist. The shots are casual; they are Pinheiro’s spontaneous records: unofficial souvenirs of an experience, preserved by the camera. The paint is her response to the prints, recorded by the brush. Both deliberately retain a certain crudeness.

The marks are elicited by the image, and the photos by the space. The space, in turn, is filled with others’ art. Pinheiro paints With Roth, On Fleury, Over Andre and Neuhaus. To this extent, Safn constitutes a series of unauthorized collaborations with iconic artists, anathematic to the traditional installation view.

Moreover, though, the series documents a synergy between audience and exhibit. Safn is a personal collection, housed in a home: effectively, Pinheiro also collaborated with the collectors. Their practices parallel: like collecting, photographing is a way to express through observation and selection. Both group things together in a context, and it’s this gestalt – the whole gallery – that Pinheiro paints with, on and over: zooming out is as important as blowing up.”

To see the full article please visit Magenta Magazine.

For more information about Andrea Pinheiro please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Press: NOW Magazine reviews Todd James

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NOW Magaine recently reviewed Todd James’ current exhibition.

“Viewers averting their eyes from Miley Cyrus’s tongue at the VMAs would have found her entourage of dancing bears more enjoyable. These were the brainchild of artist Todd James, who’s having his first Canadian solo show of paintings at Cooper Cole.

James, who began his career as a New York City graffiti prodigy named REAS, has collaborated with Eminem and Mobb Deep and done extensive work in production, film and animation. He is also an internationally recognized fine artist.

His ironic street sensibility is in no way dulled in this funny, fierce show of nudes that makes contemporary no-brow culture look nearly refined. James is obviously having fun – lots of it.

It’s a huge and colourful show, and funny as hell. The well-worn bourgeois aesthetics of Picasso and Matisse are weaponized into Tom Wesselmann-flavoured japes: big naked blonds lounging about, surrounded by cats and toting automatic weapons.

Once your laughter subsides, you appreciate James’s immense skill. He almost paints staid knockoffs of respectable modernism, but the palette is a too club-kid neon and there are too many touches of white-trash sass. One woman sports striped 70s tube socks, à la classic centrefold, while hoisting a joint. The cats, looking glum and neurotic, are pure comedy. It’s a little too much for an investment banker’s foyer.

The mashup of genres would be disorienting were they not so seamlessly unified. James parodies his styles with a lightness that betrays a deep immersion in their history: his visual language is as fluent as it is offhand. Like the rappers he’s worked with, his crude, comic patois is a breezy front for a profound, almost reverent literacy.

Pulling off a genre joke this blunt and sophisticated takes both balls and finesse. At the start of a grey Toronto winter, James’s high-octane nudes are an invigorating blast of heat.”

To see the full review please visit NOW MAgazine.

This exhibition continues at the gallery until December 7, 2013.

Click here to see photos of the installation.

Click here to view selected works from this exhibition.

For press and sales information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Art Fair: UNTITLED.

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COOPER COLE is pleased to announce its upcoming participation in the second edition of UNTITLED. Miami.

The gallery will feature artists Georgia Dickie, Joseph Hart, Andrea Pinheiro, and Ryan Wallace.

Visit us at Booth C19.

To download your complimentary VIP preview pass, please click here.

UNTITLED. is an innovation of the traditional art fair model for international galleries and nonprofit art spaces with a focus on emerging and midcareer contemporary art. The emphasis on international living artists and Omar Lopez-Chahoud’s curatorial approach showcases some of the most exciting contemporary art from around the globe.

Miami Beach at Ocean and 12th

VIP Preview
Tuesday, December 3 / 3pm – 7pm

Public Hours
Wednesday, December 4 – Saturday, December 7 / 11am-7pm
Sunday, December 8 / 11am-6pm

For additional information please contact the gallery.

Installation: Todd James



Installation images from Todd James’ current show are now online.

This exhibition continues at the gallery until December 7, 2013.

Click here to see photos of the installation.

Click here to view selected works from this exhibition.

For press and sales information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Installation: Marc Bell



Installation images from Marc Bell’s current show are now online. This exhibition continues at the gallery until December 7, 2013.

Click here to see photos of the installation.

Click here to view selected works from this exhibition.

For press and sales information please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

Installation: JIM JOE

Installation images from JIM JOE’s current exhibition are now online.

COOPER COLE
777 Richmond Street West
2nd Floor
Monday, Friday, and Saturday: 12pm-4pm, and by appointment.

To view more installations shots please visit this link.

This exhibition continues at the gallery until November 12, 2013.

For press and sales information please contact the gallery.

Press: Graham Collins featured on Whitewall

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Graham Collins was recently interviewed by Whitewall.

WHITEWALL: The first work I saw of yours was in a group exhibition at Soloway in Brooklyn and was curated by Paul Branca around the concept of labor in the art world. Those sculptures were entirely made out of the detritus of exhibitions at your former place of employment, the gallery Untitled in the Lower East Side. How did making that body of work alter your artistic approach going forward?

GRAHAM COLLINS: Well the premise of that show was how people with jobs in the art world might be influenced by what they saw or learned on the job. The work I was making at the time didn’t really fit, but I think Paul is brilliant, so it made me wonder why it didn’t. So I started to look at the stuff that I had experience with–framing and display conventions, making stretcher bars, stretching canvas, installing art–and decided to make some work that consists of just these basic, limited elements of art.

WW: Your work seems to have a natural balance between mundane labor and fine art, as well as a knack for inextricably linking the two. Even the title of your show “Civic” alludes equally to ancient Greek democratic institutions and cheap Japanese cars. What do you attribute this characteristic to?

GC: Right. Fully enmeshed. I can’t even tell if I’m talking about cars or cities. I also like that there’s this major DIY performance mod-scene with Civics… I guess I take it for granted that I can identify with both abstract painting and Criminal Minds–and really value them both. A cautious sincerity may be a real hallmark of our cultural moment.

WW: Your work at The Journal acts as–for lack of a better word–a parody of Art. The reductive paintings, both on the wall and as part of the sculpture, are cobbled together from sundry, menial materials like carbon fiber or window tint, yet they safely occupy places within traditional, highly-crafted exhibiting devices, like wood frames and vitrines. Would you say that the show is a send up of modernist art or a loving recreation or both?

GC: It’s definitely not a send up…well, maybe a little bit. The first time I showed these paintings was at Soloway in a show titled “Shade Tree,” and I thought of it as something like a sculpture of an art show. “Civic” is more like a collection of residuals from a performance where I go into a studio and make art. But when I’m making the pieces I’m really trying to do the best I can. I just have this system that incorporates some elements that are funny or destined to fail, so it’s easy to project a critique of modernism onto the work, though I’m not making an explicit judgment. I’m more about investigating the idea that things usually don’t work out as planned, but maybe what comes from that is better.

WW: Your process sounds like a multi-step endeavor: making the decisions beforehand, then quickly assembling the piece later, letting chance somewhat determine the final outcome, and then framing the object with care. Can you name any contemporaries or influences that you feel have a kindred process?

GC: Right. That comes from working too much and having way more time to think about making art than actually making it. I’m constantly going over possible projects in my mind and, when I finally get to the studio, I don’t have to think too hard. I can just get to work. I like to give myself these moments where I get to just indulge in energetic, hands-on, fully subjective art making. Historically, I like the image of Morris Louis in his home studio making huge paintings that he couldn’t even see until they were exhibited. People working today that I relate to are Adam Marnie, Sam Moyer, and Eddie Martinez.

WW: Do you have a newfound respect for professional window-tinters?

GC: I think I’ve always been fascinated by weird fields like that, like the people who replace the ads in the subway, storefront window washers, Formica fabricators, and IKEA furniture installers. There’s a great kind of romance to the highly specialized skill that is still menial.

To see the full interview please visit Whitewall.

For more information about Graham Collins please contact the gallery.

Press: Jeremy Jansen on Dust Magazine

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Jeremy Jansen was recently profiled by Dust Magazine.

Jeremy Jansen (b. 1979, Calgary, AB) works primarily in sculpture and photography. His recent exhibitions include “More Than Two (Let It Make Itself),” curated by Micah Lexier (The Power Plant, Toronto), “Untitled” (Cooper Cole, Toronto), “History” (Tomorrow, Toronto) and “Like Minded” (Plug In ICA, Winnipeg). His debut European solo show “Dirty Negative” (La Miroiterie, Paris) featured an accompanying monograph by the same name published by Editions FP & CF. Jansen currently lives and works in Toronto, Canada.

To see the full post please visit Dust Magazine.

For more information about Jeremy Jansen please contact the gallery.

Press: Lavalette in Conversation With Sara Cwynar

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Gallery artist Sara Cwynar was recently interviewed on Lavalette.

“Arianne Di Nardo: The title of your latest series, Flat Death, is a term many may recognize from Barthes’ Camera Lucida. How did this concept inform your methodology; moreover, the themes at play in your work?

Sara Cwynar: For Barthes, the other punctum, the “prick” of the photograph is time, what he calls the “that-has-been” and its “pure representation” in photographic form – how a photo can palpably show you what was – bringing it back to life, while also showing you what is no more. The image produces death while trying to preserve life. I really like this idea for two reasons: first, in relation to resurrecting refuse and re-presenting it in photographic form; second, in terms of how all photographs work.

Barthes suggests this defeat of time is much more tactual in historical photographs; that “This punctum is more or less blurred beneath the abundance and disparity of contemporary photographs.” He wrote in the ’70s, and I wonder how this idea relates to our contemporary experience with images – not so much as individual objects but as a steady stream, largely undifferentiated from one another. It seems an important idea to rediscover. I also thought about this in relation to the supposed death of printed photographs; what does it mean that even the physical reproduction of the thing in the past is gone, that it increasingly never existed, but only passes on by screen? Barthes proposed that the photographic object could be destroyed, yellowed, dead, like anything else. Which is a nice metaphor.

The process began by materializing these ideas using a mix of contemporary and antiquated objects and images: decontextualized stock photos, digital and analog processes, resampling both objects and printed photographs in order to bring them forward and show they existed. At the same time, I wanted to remind the viewer that the originals are gone, and I was thinking about the effect these images might have on a shared visual consciousness.

I interact for hours and hours with found, saved, and collected images and objects in the studio. I hope that my work method might carve a space for dialogue on the ways that images work, on questioning aesthetic tropes, on spectatorship, on the reading of visuals. How many objects and images get discarded in the constant process of generating new ones? These concerns have come to the fore of my practice, after working for the New York Times and other editorial or commercial jobs, where I made the same type of pictures that I’m trying to mess with here.”

To see the full interview please visit Lavalette.

For more information about Sara Cwynar please contact the gallery.

Upcoming: Jim Joe

JIM JOE
A collaborative exhibition with The Hole, NYC.
October 24 – November 12, 2013

COOPER COLE
777 Richmond Street West
2nd Floor
Saturday: 12pm-4pm, and by appointment.

Opening reception: Saturday October 26, 2013 / 7 – 9pm.

For press and sales information please contact the gallery.

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News: Caledonia Curry (Swoon) Nuit Blanche Project

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Caledonia Curry (Swoon) will be creating a large scale installation for this years Nuit Blanche in Toronto. This will mark the first time the artist has created a large scale work in Canada. For more information please visit the Nuit Blanche website.

Caledonia Curry (Swoon)
Bay Adelaide Centre, 26 Temperance Street (Adjacent to the underground parking lot entrance)
Saturday October 5, 2013

For more information about Caledonia Curry (Swoon) please contact the gallery.

Press: Denise Kupferschmidt featured on Artspace

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Denise Kupferschmidt was recently featured on Artspace.

Because you might have heard of Denise Kupferschmidt as an up-and-coming painter, your first thought might be that her work was surely an incisive commentary on the digital age, or a hypertheoreticaly discourse on formalism. Instead, Kupferschmidt is a formidable new painter for entirely different reasons. At age 35, Kupferschmidt shows a passion and sense of freedom in her craft rarely seen in artists her age.

To see the full post please visit Artspace.

For more information about Denise Kupferschmidt please contact the gallery.

Press: Graham Collins on Dust Magazine

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Graham Collins was recently profiled by Dust Magazine.

Graham Collins’ varied work blends painting, architecture and sculpture into a contradictory amalgam of ruin and stability. Canvases of spray painted monochrome hues are partially obscured behind a scrim of tinted glass and encased in frames made with salvaged wood. The tinted monochromes combine the artist’s appreciation of normative craft forms, specifically woodworking and DIY window tinting, with the canon of abstraction. Collins forces a harmony from the disparate cultural and aesthetic values associated with these different entities.

Taking a cue from Frank Stella’s dictum that “what you see is what you see”, the works function at first glance as minimalist forms, yet hold a bevy of specific information right on the surface. The weather-stained wood, the torn window tinting, the color, the shape of the stretcher, the heavy, sharp glass, a section of wall–all serve as a collection of marks that signify different histories. While pocked and torn in places, these planes still shimmer and act as a kind of mirror reflecting their surrounding environment. On closer inspection the viewer’s eyes focus back and forth on the surfaces of the glass, the canvas, the tinting – revealing what we ourselves look like when viewing an artwork.

Graham Collins was born in Washington, DC in 1980. He received his BFA from The Corcoran School of Art and an MFA from Bard College. Collins’ artwork routinely incorporates a wide range of disciplines, including painting, sculpture, ceramics, woodworking, and architectural intervention. Solo exhibitions have been with Halsey McKay Gallery (East Hampton), the journal and Soloway, (Brooklyn). His work has been featured in group shows at Rachel Uffner Gallery, Derek Eller Gallery (NY), The Corcoran Museum (Washington DC), and Tät (Berlin), among others. He currently lives and works in Brooklyn.

To see the full post please visit Dust Magazine.

For more information about Graham Collins please contact the gallery.

News: Chris Duncan Interview on LVL3

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Chris Duncan was recently interviewed by LVL3.

Chris Duncan is an Oakland-based artist who employs repetition and accumulation as a basis for experiments in visual and sound based media. Often in flux between maximal and minimal, Duncan’s work is a constant balancing act of positive or negative, loud or quite, solitary or participatory and tends to lead towards questions regarding perception, experience and transcendence.

Outside of his studio practice he organizes events and runs a small artist book press and record label called LAND AND SEA with his wife. Duncan earned his BFA from the California College of Arts and Crafts and his Masters Degree in Art Practice from Stanford University.

To see the full interview please visit LVL3.

For more information about Chris Duncan please contact the gallery.

Installation: Jenine Marsh

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Installation images from Jenine Marsh’s current exhibition are now online.

To view more installations shots please visit this link.

COOPER COLE
777 Richmond Street West
2nd Floor
Monday, Friday, and Saturday: 12pm-4pm, and by appointment.

COOPER COLE acknowledges the generous support of Johnson Trading Gallery with this project.

For press and sales information please contact the gallery.

News: Sara Cwynar Kitsch Encyclopedia Campaign

Kitsch Encyclopedia is a book project that Sara Cwynar has been working on for over three years and with your help she can finally realize the publication that has served as a reference point for all of her subsequent work.

Kitsch Encyclopedia is a book project that brings together writings by Milan Kundera, Roland Barthes and Jean Baudrillard, as well as my own writing to formulate a relationship of kitsch to images. Kundera considers kitsch to be a categorizing phenomenon: a means through which complex human experience is distilled to simple, sentimental motifs. All three writers discuss a similar circumstance of the contemporary image world: the way that our culture of images, especially in the age of the internet, provides an Idealized, kitsch-based image world that exists on top of the real world and in many ways has subsumed it. – Sara Cwynar

The book will be co-published with Blonde Art Books in an edition of 1000, PLUS a special limited edition of 20, which will replicate the hand-made quality of the original book.

Please consider supporting this project and reserve a copy of the book at this link.

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News: Group Show at The Power Plant

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Georgia Dickie, Jeremy Jansen, and Tessar Lo will be exhibiting work in a group show curated by Micah Lexier at The Power Plant in Toronto.

Micah Lexier
One, and Two, and More Than Two
September 21, 2013 – January 4, 2014
The Power Plant

“At his most ambitious, however, is Lexier’s More Than Two (Let It Make Itself), a curatorial project that displays over 200 new and recently created artworks and objects by 101 artists/duos/collectives in and around Toronto. Encompassing artists at varying stages of their careers, Lexier presents his take on the wide-ranging, multi-generational portrait of a robust Toronto art community. In seeking to celebrate this expansive community, Lexier brings to The Power Plant an incisive look at the networks of creative production that surround it. “The thirty vitrines that constitute the exhibition”, he states, “house my personal take on some of the wonderful, inventive, like-minded objects that I encountered during my research.” More Than Two is in constant dialogue with Lexier’s whole exhibition, enabling audiences to see and experience the artist’s multi-faceted practice. One, and Two, and More Than Two is a vibrant portrait of not only an artist but of his practice as well as his diverse community.

Micah Lexier (born Winnipeg, Manitoba, 1960) is an artist and curator living and working in Toronto. Over the last thirty years, Lexier has participated in a large number of international and national solo exhibitions and group exhibitions, and has produced several local public commissions. His work is found in various collections, including: The British Museum, London; the Contemporary Art Gallery, Sydney, Australia; The National Gallery of Canada, Ottawa; and The Art Gallery of Ontario, Toronto. He is represented by Birch Contemporary, Toronto.”

For more information please visit The Power Plant.

Press: Sara Cwynar Reviewed by Canadian Art

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Gallery artist Sara Cwynar had her current show reviewed by Canadian Art.

“Conceptual kitsch” might be the only adequate term to describe the work of artist Sara Cwynar. Born in Vancouver and raised in Ottawa, she studied design at Toronto’s York University and English at Vancouver’s University of British Columbia before relocating to New York and working as a graphic designer for the New York Times Magazine. Cwynar left the magazine earlier this year to work full-time on her art, the product of which is currently on view in Toronto at Cooper Cole.

Cwynar’s newest body of photographic work, Flat Death (2013), consists of careful arrangements of objects and images that the artist has then rephotographed.

The west side of the gallery is anchored by three such large-scale studies of floral arrangements. An evolution of Cwynar’s earlier Color Studies series (2012), these Contemporary Floral Arrangement works are composed of groupings of objects organized by colour atop enlarged photographs depicting flower-arranging techniques.

The bouquets in these prints bloom with the debris of everyday life: spools of thread, golf tees, paper clips, fancy toothpicks and more. Up close, each arrangement of items resembles the cluttered pages of an I Spy book. However, with slightly more distance, it becomes apparent that each component has been carefully placed upon reproductions of petals, pistils and leaves, following the contours of the image below.

A self-professed “hoarder,” the artist maintains a comprehensive and growing archive of objects, photographs and other ephemera that she describes as a medium or tool in her work. Cwynar’s humour and obsessive collecting impulses, already evident in the floral pieces, are also apparent in another series of 13 photographs. These tightly wrap an interior corner, creating an intimate viewing space that echoes the cloistered self-referentiality of a collector’s stash.

Images culled from Cwynar’s archive are reimagined in abundant, often overwhelming, ways. For the print Continuous Pour (2013), Cwynar appropriated images from photography manuals and stock food photographs as well as from her own previous work Bernardo with Props (2013); she then arranged these into a dizzying meditation on the title action.

Many of the works in the show can be grouped in pairs or trios, provoking viewers to look closely for additional references. Both Toucan In Nature (Post It Notes) (2013) and Gold – NYT April 22, 1979 (Alphabet Stickers) (2013) employ a technique whereby Cwynar enlarges an original archival image, then reprints it on several pages and reassembles it with tape. This collage then becomes a ground for embellishment—in these cases, with Post-it note arrows and gold alphabet stickers, respectively—before being rephotographed. The resulting images are delightfully kitschy and visually pleasing, but also evince the very involved process of their making.

Without subtlety—but with craft and wit—Cwynar invites us to look closely and to question hierarchies of image-making, as well as the changing nature of photography. The title of this body of work references Barthes’s famed phrase on spatial collapse inherent to the medium, while five prints titled Darkroom Manual (2013)—scans of instructional-text images of darkroom equipment—underline oscillations between digital and analog. (The floral works were shot and developed on film before being digitally printed, further signalling a play between different techniques.)

Overall, the works on view invite speculation on the ever-increasing space and time that seemingly disposable stock photographs and ephemera, and the tropes they have propelled, might occupy.

To see the full review please visit Canadian Art online.

For more information about Sara Cwynar please contact the gallery.

Press: Sara Cwynar in Flare Magazine

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Gallery artist Sara Cwynar is featured in the latest issue of FLARE Magazine.

Sara Cwynar is blessed with the gift of arrangement. The Vancouver-born, New York–based 27-year-old sped up the ladder in the graphic design world to get a job at the The New York Times Magazine (along with Bloomberg Businessweek, one of the most coveted spots for a designer) because of her talent at re-seeing and rearranging the familiar parts (headline, subhead, story, photo) into a fresh, make- you-double-take new whole. This past April, she quit to work on her art full-time—“I was installing shows on my vacation,” she says—and the fruits of her decision are on view at a Cooper Cole Gallery solo show in Toronto (Sept. 5–28).

As the title of one of her two books, Kitsch Encyclopedia, suggests, Cwynar is a collector of everyday objects. But, as with her graphic design magic, by reordering the obsolete and ordinary into colour coordinated groupings, she makes it extraordinary. Toy basketballs, thread spools and remote controls, in rich hues of lemon yellow, tropical green or poppy red, became colour-field mirages that make the viewer suspect the items have been spray-painted, or the photos retouched. Plastic figures frequently, like razors or bingo coins. “I’ve always been attracted to the myriad ways that colours are simulated,” she says. “Roland Barthes [describes] in a Mythologies essay how plastic never manages to simulate natural colour; it always fails, and has a distinct, particular plastic-y quality. I think it’s beautiful, this continued failure to accurately represent nature.”

Cwynar, who has also had images in the Museum of Modern Art and FOAM Photography Museum in Amsterdam, works away in her studio until the mess is prodigious—art supplies spill from under her bed into hallways and burst from cupboards and drawers. Pennies, plastic peaches, elastic bands and other ephemera are collected from her parents’ basement, eBay, flea markets and random neighbourhood junk shops: “The dollar stores here are just monumental.” At least 100 objects, from blue plastic forks to red candles, go into one colossal 3D bouquet she constructed and photographed for her new show. She also plays with reconfiguring pages from photo manuals from the ’50s to the ’90s, asking us to remember and value the discarded analogue process and, by extension, that old version of life itself, which, perhaps, like nature, we can’t capture, much as we try.

To see the full post please visit FLARE Magazine.

For more information about Sara Cwynar please contact the gallery.

Press: Sara Cwynar Featured on The New Yorker

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Gallery artist Sara Cwynar was featured on The New Yorker.

“As part of our ongoing Emerging Photographers series, today we’re highlighting the work of Sara Cwynar, a Vancouver native who lives and works in Brooklyn. I have been following her work for a while, and was drawn in particular to the monochromatic “Color Studies” as well as the series “Accidental Archives”—both of which drew on a confluence of literature, kitsch, and photographic tropes, which she cites as inspirations. Most recently, Cwynar has been preparing for her solo show, opening this week, at the Cooper Cole Gallery in Toronto, where she will début a new collection of photographs called “Flat Death” (a reference to Roland Barthes). I caught up with Cwynar to find out more about the exhibition and her latest work.

You’ve described your work to me before as relating to “vernacular photography.” Does this apply to “Flat Death”?

Definitely! The process behind this work involves reprinting and scanning found images and reworking them in the studio, mixing them with new objects and materials—taking them out of the shared-image world and into a space for personal, often very obsessive intervention. Most of the reference images come from a huge personal archive I have of vernacular, pop-culture images.

I am interested in the steady stream of images that comes at us from different channels in everyday life, how these have helped to build and reinforce a shared view of the world. The pictures I have made are, in a sense, trompe-l’oeils. I am trying to foreground the experience in which the photo reveals itself to the viewer, where you unpack what the image is actually showing you. This happens with all the vernacular photos you see every day, but it happens too quickly to notice it. In this work, what might appear to be three-dimensional is flat, what might seem “beautiful” or “sophisticated” is made up of junk, and what might look old is new. The intention is to confuse the reading of the picture.

Is the history of studio photography something you consider?

Yes. I am interested in recreating certain familiar aspects of product shots and commercial still-lives. The reproduction of detail, for example, or a specific style of lighting. I take a lot of inspiration from old studio photos and how what is once fashionable or forward-looking can come to look absurd with changing styles.

Equally, I am interested in contemporary studio photography; the hyper-real, retouched images that we see everywhere. I want everything in my pictures to be intentionally unpolished, filled with mistakes, and tactile: the opposite of a clean, commercial image.

I like the idea of reinvesting the personal into a highly produced still-life image of the sort that would normally be used to sell something, and using objects that everyone has filling their junk drawers—lost or valueless objects—and presenting them as having artistic value.

Do you approach the categorization of objects in a pragmatic or theoretical sense? Or are the objects selected based purely on their aesthetic value?

Much of my work involves systems of categorization, particularly in relation to failed modernist ideas of obtaining and organizing the world, especially the idea that you could document everything through photography, which was a really prevalent idea at the medium’s beginning—that cameras would allow us to obtain the whole world in a sense, get the whole thing “objectively” on film. Organizing and manipulating my archive of saved materials in the studio is a way of controlling the world through images, organizing chaos, taking a small slice of the world and reworking it under my own terms.

Color plays a large role in your images. What informs the color choice?

I am really drawn to the way that colors morph—faded pinks on printed matter or colors in plastic (there is a great Roland Barthes essay about the way that plastic always fails to replicate natural color) and how scanning can warp colors and bring out new ones. I like colors that have been messed up by time and process.

Lastly, what are you particularly excited to share in the exhibition?

Maybe because it’s the last one I made, I’m really excited about the gold picture, “Gold—NYT April 22, 1979.” I love the way that fake gold photographs. Gold is a quality of surface that remains a recognizable color when it is captured in a photograph. In this image, I loved the number of different iterations of gold alphabet stickers that I was able to find, and how the photo has a false value to it because it is made up of cheap materials but reflects one of the few things in our world that retains its value. I printed it on metallic paper so it really glows, and the surface is very tricky to read.”

To see the full post please visit The New Yorker.

For more information about Sara Cwynar please contact the gallery.

News: Maya Hayuk Mural at Museum of Contemporary Canadian Art

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Gallery artist Maya Hayuk recently completed a large scale mural in Toronto.

This mural project titled “P.M.A. (Positive Mental Attitude)” was completed in September of 2013. The mural is located in the courtyard at The Museum of Contemporary Canadian Art at 952 Queen Street West in Toronto. This project marks Hayuk’s first large scale installation in Canada and was coordinated by Spectrum Art Projects and The Museum of Contemporary Canadian Art.

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Installation: Brad Tinmouth

Installation images from Brad Tinmouth’s current exhibition are now online.

To view more installations shots please visit this link.

Closing reception: Saturday August 7, 2013, 3 – 6pm

COOPER COLE
777 Richmond Street West
2nd Floor
Monday, Friday, and Saturday: 12pm-4pm, and by appointment.

COOPER COLE acknowledges the generous support of Johnson Trading Gallery with this project.

For press and sales information please contact the gallery.

Installation: Garden Show

On Saturday August 24, 2013, COOPER COLE hosted a single day offsite art show featuring works from:

Graham Collins
Georgia Dickie
Jesse Harris
Jeremy Jansen
Lauren Luloff
Jenine Marsh

Installation images are now online.

For press and sales information please inquire with the gallery.

Press: Jen Stark Reviewed on Akimbo

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Jen Stark’s current exhibition reviewed on art blog Akimbo.

“Jen Stark’s use of colour is anything but restrained. Her selection of works at Cooper Cole is all about pleasing the eye, dipping into Op Art territory and coming out in three dimensions. Her wall installations are all trippy, multicoloured swirls and drips; each in its own way also suggests movement. After the initial appeal of her vortex installations wears off, it’s a ceiling hung mobile of concentric rings that play with our expectations of volumes of space and an abstract sworl mounted slightly off the wall to allow a subtle glow of colour to emerge beneath that sustain my curiosity.”

To see the full post please visit Akimbo.

For more information about Jen Stark please contact the gallery.

Jen Stark’s current exhibition continues until August 24, 2013.

News: Maya Hayuk Print Release

COOPER COLE is pleased to announce the release of a print edition from gallery artist Maya Hayuk.

This edition is being released in conjunction with her upcoming mural project at The Museum of Contemporary Canadian Art, in Toronto, Canada. Hayuk has recently had solo exhibitions at The Hammer Museum (Los Angeles, USA) and The Bonnefanten Museum (Maastricht, Netherlands), this will mark the artists first large scale project with an institution in Canada.
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Maya Hayuk
Pangaea
2013
3 color silkscreen with hand finished elements
Edition of 25
Signed
20″ x 15″, 50.8cm x 38.1cm

Please contact the gallery if you are interested in reserving a copy or purchase online via paypal below.

Prints will be shipped at random.


Shipping Options:





Maya Hayuk, Pangaea, 3 color silkscreen with hand finished elements, Edition of 25, Signed, 20″ x 15″, 50.8cm x 38.1cm

News: Maya Hayuk at The Hammer Museum

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Gallery artist Maya Hayuk will be presenting a series of installations this month at The Hammer Museum, in Los Angeles.

Hammer Projects: Maya Hayuk
August 17, 2013 – January 26, 2014

With their symmetrical compositions, intricate patterns, and lush colors, Maya Hayuk’s paintings and massively scaled murals recall views of outer space, traditional Ukrainian crafts, airbrushed manicures, and mandalas. Hayuk weaves visual information from her immediate surroundings into her elaborate abstractions, creating an engaging mix of referents from popular culture and advanced painting practices while connecting to the ongoing pursuit of psychedelic experience in visual form. For her first one-person museum exhibition in the United States, she will make a new site-specific mural on the Lobby Wall. Hammer Projects: Maya Hayuk is organized by Hammer assistant curator Corrina Peipon.

For more information about Maya Hayuk please contact the gallery.

Press: Devin Troy Strother Interviewed in Magenta Magazine

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Devin Troy Strother was recently interviewed in the current issue of Magenta Magazine.

“Born in California, and now based between Los Angeles and Brooklyn, 27-year-old Devin Troy Strother makes work that combines painting, drawing, collage and sculpture, and reflects his experience growing up in a middle-class suburb of Los Angeles where he was “sometimes the only black kid in [his] class”. He brings this unique perspective to work that depicts decidedly contemporary scenarios that often feature joyful-looking African-American figures made from cut paper. Although celebrating black culture is Strother’s primary concern, subtle intimations of fraught African-American histories give the work weight. In the past year, Strother has had solo shows at Monya Rowe in New York, Richard Heller Gallery in Santa Monica and Bendixen in Copenhagen. His work was included in a two-person show at Toronto’s Cooper Cole earlier this summer. Here, Magenta editor Bill Clarke talks to the artist about how his early life influences his art, owning the ‘signage’ of Black American culture, and how one ‘gets a pass’ to drop the n-bomb.”

To see the full interview please visit Magenta Magazine online.

For more information about Devin Troy Strother please contact the gallery.

Press: Jen Stark Reviewed By NOW Magazine

Jen Stark’s current exhibition was reviewed by Now Magazine.

“Los Angeles-based artist Jen Stark doesn’t hang her work in galleries; she creates inter-dimensional rifts in their walls. Occupying a wholly original territory between painting and sculpture, she literally builds her complex vortices into walls or pedestals, giving the impression that they’ve opened into rainbow hued wormholes.

Behind each of these manifestations is a daunting degree of meticulous craftsmanship, handicraft and math. Stark’s three-dimensional spirals and eye-brain workouts are derived from a mix of sacred geometry and fractals painstakingly reconstructed by hand using brightly coloured paper, foam board and glue.

It’s Stark’s patient commitment to detail that lends her works their hallucinatory vividness. The geometrically precise swirl of Vortextural is made all the more compelling by the ambiguous rainbow-hued shapes around its rim.

She skirts the chaotic edge of her mathematically precise constructions in ways that make them more playful. And she’s not afraid to revel in the pure joy of colour running wild, as in Drippy, where it appears that a prismatic glob of colours has started to literally run down the wall from the gallery ceiling.

Dimension makes its visual impact with more restraint and elegance. A series of concentric rings suspended by threads to form a receding tunnel floating in mid-air, it evokes the colour spectrum and its perceptual trickery. Circling around it, however, you’re surprised to discover that the far side has been rendered in black and white, a monochrome inversion of the same work.
Pulsating, mathematically complex geometries bursting with colour are things we associate with waving glow sticks at 4 am. Stark gives these old psychedelic tropes a conceptual retrofit, infusing them with a clean, playful, contemporary edge.”

To see the full review please visit NOW Magazine.

Jen stark’s current exhibition continues at the gallery until August 10, 2013.

For more information about Jen Stark please contact the gallery.

Installation: Andrea Pinheiro

Installation images from Andrea Pinheiro’s current exhibition are now online.

To view more installations shots please visit this link.

The exhibition continues at the COOPER COLE Richmond St. until June 24, 2013.

COOPER COLE
777 Richmond Street West
2nd Floor
Monday, Friday, and Saturday: 12pm-4pm, and by appointment.

COOPER COLE acknowledges the generous support of Johnson Trading Gallery with this project.

For press and sales information please contact the gallery.

News: Chris Duncan featured in SFAQ

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Gallery artist Chris Duncan was recently interviewed by SFAQ.

“The 1960s and 70s were the championing era for initiatives that localized artist efforts outside of the institution. Conceptual Art publications, Land Art, Fluxus and other practices alternative to white cube aesthetics and fundamentals ran rampant with the collaboration of artists, for artists. The Bay Area was certainly not immune to this ideological fervor, and perhaps more than most places became a notable fostering ground for these certain attitudes. Oakland artist Chris Duncan carries the torch of the legacy of the 1970s with his innumerable collaborative projects that bear striking comparisons to an elaborate history of artist magazines, performance and object making that extend far beyond the tactile bits that litter his studio.

Although well known for his evolving series of spiral paintings and cut and sewn collages, Duncan is more discreetly responsible for two of the Bay Area’s most well received artist magazine projects of the past decade: “Hot and Cold”, and “Land and Sea”. Both projects, though spanning several years in origin and form, exist as earnestly constructed publications made by Duncan and a variable roster of collaborators. Each has the expressed purpose of alternatively exhibiting the work of fellow artists in an experimentally democratic and neutral space. “Hot and Cold” has successfully wound down its tenure of “hodge-podge” features, intentionally produced starting with edition 10 and winding down to 0. But “Land and Sea” is still active in its output, featuring the work of a single artist at a time. Having worked with Colter Jacobsen, Sean McFarland, Reuben Lorch-Miller, Kelly Ording and Eddie Martinez—to name a few— Duncan constructs the instantly recognizable photo-copied magazines with as much or little intervention as requested.”

To see the full interview please visit SFAQ.

Chris Duncan’s current exhibition at the gallery continues until August 10, 2013.

For more information about Chris Duncan please contact the gallery.

News: Ryan Wallace Featured on Hunted Projects

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Gallery artist Ryan Wallace was recently interviewed by Hunted Projects.

“Through investigating Chardin’s theory of the omega point and Kurzweil’s notion of technological singularity, Ryan Wallace explores where Chardin’s supreme point of complexity, consciousness and evolution is relational to Kurzweil’s concept of super intelligence evolving through technological means. Perhaps this may be complicated for you if you haven’t read up on either Pierre Teilhard de Chardin or Raymond Kurzweil, though Wallace’s sophisticated process driven abstractions visually expand upon these concepts of evolution and technological acceleration through creating complex, heavily layered works that visually and metaphorically relate to the universal evolution of total consciousness.

Being fascinated with scientific existentialism, Wallace’s Terraform series explores Chardin’s Omega Point theory through creating heavily layered multi-media canvas works that visually evoke supermassive black holes. Made using oil, enamel, pigment, crystalina and cold wax, the Omega Point works are an indulgence into complexity and materiality, stimulating a sensory overload. Simultaneously, Wallace’s Consensus works are additionally a play on the senses through the creation of replica rock sculptures that are displayed within tinted vitrine cases that make it difficult for the viewer to decipher which rocks are the real, or the replicant. Whilst on the other hand, Wallace’s Tablet paintings mimic both the Omega Point works, and his earlier Glean series, by having the connected elements pushed to the surrounding edges of the canvas, as to allow the central void to be an area of flattened information.”

To see the full interview please visit Hunted Projects.

For more information about Ryan Wallace please contact the gallery.

Press: Jen Stark feature on Installation Magazine

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Gallery artist Jen Stark was recently profiled on Installation Magazine.

“For Jen Stark, paper is not a medium that should be underestimated. The flat surface invites endless possibilities. Daniel Rolnik visited Stark’s studio as she prepared for her solo exhibition VORTEXTURAL in Toronto. Inside her studio he discovered paper and other fantastical materials that run the color spectrum and under the careful direction of the artist, transform from two dimensional materials into engaging geometric forms and installations.”

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To see the full article please visit Installation Magazine.

For more information about Jen Stark please contact the gallery.

Installation: Gina Beavers & Devin Troy Strother

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Installation images from our current exhibition featuring Gina Beavers & Devin Troy Strother are now online.

To view more installations shots please visit this link.

The exhibition continues at the gallery until June 29, 2013.

For press and sales information please contact the gallery.

Press: Georgia Dickie in FLARE Magainze

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Gallery artist Georgia Dickie has a small feature in Flare Magazine.

Georgia Dickie, 23, creates art out of found objects—rather menacing found objects. A strip of metal perched on a hockey puck looks like a snake about to strike, while the rusty old propeller lurks under a stack of metal objects. “By arranging combinations of objects, I attempt to describe the present moment,” Dickie says. “I engage in a continuous process of moving things around, building things up and taking things down, dismantling, rearranging, walking away and then revisiting.”

To see the full article please visite Flare Magazine.

For more information about Georgia Dickie please contact the gallery.

Installation: Jeremy Jansen

Installation images from Jeremy Jansen’s current exhibition are now online.

To view more installations shots please visit this link.

The exhibition continues at the COOPER COLE Richmond St. until June 24, 2013.

COOPER COLE
777 Richmond Street West
2nd Floor
Monday, Friday, and Saturday: 12pm-4pm, and by appointment.

COOPER COLE acknowledges the generous support of Johnson Trading Gallery with this project.

For press and sales information please contact the gallery.

Press: Sara Cwynar Featured on Port Magazine

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Gallery artist Sara Cwynar was recently profiled on Port Magazine’s website.

“Drawing from her personal archive of objects, photographs, catalogues and props, for Canadian artist Sara Cwynar the personal and the professional overlap in a myriad of intense and individual ways.

Using her interests – a fascination with the kitsch; Derrida; impulse to hoard; the natural world; food photography – Cwynar creates visually arresting images in her Brooklyn flat that act as a microcosm for wider cultural commentary. Cwynar, who featured in Print Magazine’s “20 Under 30 New Visual Artists for 2011”, explains the evolution of her art, from her sting of early Cindy Sherman-type portraits, and why for her, the commercial can feed the conceptual with more than just money.”

To see the full interview please visit Port Magazine’s website.

For more information about Sara Cwynar please contact the gallery.

News: Sara Cwynar Featured As The L Magazine Cover Artist

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Gallery artist Sara Cwynar is the featured cover artist for the latest issue of Brooklyn-based The L Magazine.

Below is an interview published with Cwynar, to see the full article please visit The L Magazine online.

Where can we see your work this next year?
I will be in a group exhibition at the Camera Club of New York that opens May 30th.
And I’m preparing for a solo show at my gallery in Canada, Cooper Cole Gallery for September.

What neighborhood do you live in?
Greenpoint.

How do you start a new project?
I am a massive hoarder so I usually start by going through my personal archive. Often I will begin from a source image that I’ve saved, and re-examine it or rework it somehow. Right now I’m really interested in old stock food photography, camera manuals, and vanitas paintings.



Do you have a studio routine?
I only recently left my day job so I’m still working that one out. Usually I try to start fresh and read something relevant or make work for at least three hours at the start of the day until everything else starts getting in the way. It is pretty random though, often I will make a piece in massive full day marathons when I feel ready to go and then be less productive for a while. 



Is there an artist or exhibition that’s had an especially significant impact on your development recently?
I really loved Letha Wilson’s recent exhibition at Art in General.

Do you have any advice for other young artists?
I think it’s important to not think too much about what other people are doing in relation to your own work, to pull influences from places other than the contemporary art world. It is easy to fall into doing stuff because it looks a certain way when it doesn’t mean anything to you. And it can be hard to avoid this when you’re struggling. Also I think half of it is just convincing yourself it isn’t bullshit all the time and embracing that as a real, constant part is important.



Is there another medium or style of work that you’d like to explore or have started to experiment with?
I have been doing a lot of installation work lately and I’m pretty excited about it. I had a wall built to install on for my last show and it looked like a shrine to found images and everyday objects. To me it was really beautiful. I think there is a lot of potential in the everyday and in discarded materials to break out of the sleek imagery that surrounds us all the time in our lives. 



How do you describe your work to your parents?
Reworkings of photographic tropes as new still life pictures or installations. My parents are very supportive though they possibly think I’m a bit insane!

For more information about Sara Cwynar please contact the gallery.

News: Sara Cwynar at The Camera Club of New York

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Gallery artist Sara Cwynar will be exhibiting in a group exhibition at The Camera Club of New York which opens this week.

What You Want
Curated by Matthew Leifheit

May 30 – June 29, 2013
Opening Reception: Thursday, May 30, 6-8pm

Featuring:
Thomas Albdorf
Raphael Cohen
Sara Cwynar
Bobby Doherty
Trey Wright

Curated by Matthew Leifheit as part of CCNY’s Guest Curators Program, this exhibition presents five visually indulgent approaches to the contemporary photographic still life. Embracing humor with dazzling color and brilliant light, these emerging artists test boundaries between the studio and the natural word, blending broad strokes between the two. These still lives present the artists’ desires objectified and reconfigured to be universally relatable. In them, disparate banal objects are combined with abandon in order to create visual pleasure. Here is What You Want.

A limited edition exhibition catalog will be available for purchase at the opening reception for $10. The catalog features a cover illustration by Ole Tillmann and includes an introductory poem by Paul Legault.

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Sara Cwynar will be having a solo exhibition in Toronto this coming September.

For press and sales information please contact the gallery.

News: Maya Hayuk Mural and Print Release

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Gallery artist Maya Hayuk recently completed a mural on the exterior and released two silkscreen editions through UK based print publisher Pictures on Walls.

These editions are likely to sell out fast so follow this link to grab a copy while you can.

If you are interested in original works from Maya please contact the gallery.

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News: COOPER COLE To Open Second Location

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COOPER COLE is pleased to announce a second exhibition space opening at 777 Richmond Street West (at Niagara Street).

This offsite space will compliment the existing programming at our Dundas Street location, and feature exhibitions from gallery represented artists as well as projects from invited collaborators.

The initial schedule will feature solo exhibitions from the following artists.

Jeremy Jansen
June 1 – June 24, 2013

Andrea Pinheiro
June 29 – July 22, 2013

Brad Tinmouth
August 10 – September 2, 2013

Georgia Dickie
September 13 – October 7, 2013

 

COOPER COLE
777 Richmond Street West
2nd Floor
Monday, Friday, and Saturday: 12pm-4pm, and by appointment.

COOPER COLE acknowledges the generous support of Johnson Trading Gallery with this project.

ART FAIR: COOPER COLE AT NADA NYC

COOPER COLE is pleased to announce our participation in NADA New York.

The gallery will be exhibiting the works of Georgia Dickie and Lauren Luloff. Please visit us at Booth 607.

NADA New York – May 10-12, 2013
Pier 36 – Basketball City | 299 South St. New York, NY 10002
(the corner of South St. & Montgomery St. on the East River)

PRESS: SARA CWYNAR FEATURED ON SLEEK MAGAZINE

Gallery artist Sara Cwynar was featured on Sleek Magazine’s website.

“Hoarding – as anybody who’s ever filed away old receipts or napkins with scribbles on will know, is an addictive tendency. Once you’ve started documenting, scrapbooking and filing away, who’s to say where you should stop? For Canadian artist Sara Cwynar, the desire to hoard, a compulsion with collection, lies at the root of her work as an artist. For the installation Everything in the Studio (Destroyed), showing as part of the Young Talent programme at Foam Gallery, Cwynar took all the objects out of her studio at one given point, documenting each one and reconstituting it so it would fit in one corner of the room. The resulting exhibition is a colourful candy-coloured collection of lost objects, where traditional vanitas imagery mixes with the sheen of shiny plastic, a rotting piece of fruit, a plastic skull. But the memories are also bittersweet, and make me think of Don Draper’s comment in Mad Men, when pitching a Kodak Carousel: “Nostalgia – it’s delicate, but potent. Teddy told me that in Greek nostalgia literally means “the pain from an old wound.” It’s a twinge in your heart far more powerful than memory alone. This device isn’t a spaceship, it’s a time machine. It goes backwards, and forwards… it takes us to a place where we ache to go again”.

Draper’s description of nostalgia fits well with Cwynar’s archiving tendencies. It charts a wish to go back in time, and find something that was lost. Cwynar builds her own personal record through objects gleaned from flea markets, images and photos picked out from encyclopaedias and objects snuck out from skips. Through the process of accumulation, she explores its function in constituting personal memories, and the way in which these images move around, circulating through different hands, in different ways. She explains her interest as a desire to explore “the ways in which we understand the world through images: how we view ourselves and our history through a shared image-based archive built from cultural fantasies and photographic tropes”. Is she a compulsive hoarder, then? “Collecting, taking and re-composing images in my art practice is both a means of satisfying a constant impulse I have to hoard and save things, and a means of breaking into the constant image landscape that surrounds me, grabbing a small piece of the world and reconstituting it under my own terms”. Once the first installation of Everything in the Studio (Destroyed) was completed, Cwynar forced herself to destroy it, and come to terms with her compulsive hoarding tendencies. That’s definitely one way to do it.

Internet culture, and the way in which you can comically juxtapose the ordinary with the extraordinary, is another influence at play in her work. The internet creates (or maybe recreates) a new image-world. Cwynar observes that, “consumer culture and the internet have helped to create an image-world that exists on top of the real world and has in many ways subsumed it – and the possibility of finding ways out of this system by appropriating and messing with many of its tropes, using vernacular, throwaway materials and outdated imagery, to question the consensus of what is worth taking a picture of, and the glossy surface of so much that we see”.

Andy Warhol’s dislike of nostalgia (he put everything in labelled boxes and stored it away in New Jersey, eventually chucking it all out) is a critical reference point in the exhibition. Yet while professing a discomfort with the concept, Cwynar’s work still carries a particularly nostalgic aura, seemingly harking back to 1970s photographic techniques. I asked if this was intentional, and Cwynar replied: “Yes, my photos and the colour values and modes of production are definitely consciously nostalgic. In my work I am working through my nostalgia both by constantly documenting everything with a camera and constantly collecting materials and objects – it satisfies a need to grab onto a bit of the world that will last, making an external record of experience. Warhol says he hates nostalgia but by acknowledging this he is saying that he actually is very nostalgic, he just can’t help it and wishes he wasn’t. This is how I feel too”. Nostalgia reminds us of the pain of past memories, encouraging us to hold on to the past. Thankfully, Cwynar’s also looking to the future.”

- Sophia Satchell-Baeza

To see the full post please visit Sleek Magazine.

For more information about Sara Cwynar please contact the gallery.

PRESS: SARA CWYNAR FEATURED IN MAGENTA MAGAZINE

Gallery artist Sara Cwynar is featured in the current issue of Magenta Magazine.

“Brooklyn-based Canadian Sara Cwynar’s photographs are informed by her collecting habits and propelled by her love of documentation. For the “Colour Studies” series (2012), Cwynar has accumulated a mass of objects and honours her “hoarding” obsession through the photographs, which read like still life arrangements, or images from catalogues or advertising. Cwynar composes her photographs in pleasing displays that are very personal, yet easy to relate to. Her acute attention to detail holds power on a micro scale yet, when looking at these compositions, the viewer feels a specific pull. In these photographs, relationships between items are highlighted, but the work is most concerned with colour. Cwynar neatly displays her understanding of aesthetics, meticulously organizing the noise of our material world.

Cwynar is a graduate of York University, and has exhibited her photos and installations internationally at The Magenta Flash Forward Festival (Toronto and Boston) Foam Photography Museum (Amsterdam), Ed Varie and Printed Matter (New York), Paul Petro Special Projects (Toronto) and the Royal College of Art (London, U.K.). Her work has been featured in The New York Times Magazine, 01 Magazine, and Bad Day. She was listed as one of Print magazine’s “20 Under 30 New Visual Artists for 2011”. Cwynar is represented by COOPER COLE in Toronto.”

To see the full article please visit Magenta online.

For more information about Sara Cwynar please contact the gallery.

PRESS: TESSAR LO ON JUXTAPOZ

Juxtapoz Magazine recently featured Tessar Lo on their website.

“Toronto-based Tessar Lo has a unique expressionistic style reminiscent of Basquiat or Anthony Lister. His dreamy, motion-filled paintings represent fragments of some free-flowing consciousness. Lo’s works draw energy from the visual language of children’s drawings, mysticism, symbols and totems. We love being able to see the artist’s hand so vividly in the strokes and lines of these dynamic, deeply engaging works.”

To see the full post please visit Juxtapoz Magazine.

PRESS: SARA CWYNAR FEATURED IN WE ARE SELECTERS MAGAZINE

Gallery artist Sara Cwynar was featured on fashion magazine We Are Selecters.

“Canadian photographer, artist and graphic designer, Sara Cwynar (b. 1985) combines photographic images with installations, collages and sculptures. She has a constant need to collect photographs, objects and all kinds of ephemera, which she then re-arranges and documents. Sara currently lives and works in New York.

For the installation, ‘Everything in the Studio (Destroyed)’, which is being exhibited at Foam 3h as part of the young talent program me of Foam, Sara Cwynar took all of the materials in her studio at one time, documented each items and arranged it into a digital plan where she could fit the entire contents into a corner of the gallery.

Sara attempted to install the archive according to the plan, which quickly began to fall apart as images and objects were not how she had remembered them. She left the materials for a month, then destroyed the whole thing, … so that she would be forced to purge the archive – allowing herself to start anew, and documenting everything only with a camera.

All that remains of this studio’s worth of materials is the image. ‘Everything in the Studio (Destroyed)’ by Sara Cwynar can be seen until 16th of May 2013 at Foam. An exhibition made possible by Van Bijlevelt Stichting and the Gieskes-Strijbis Fund.”

To see the full post please visit We Are Selecters.

For more information about Sara Cwynar please contact the gallery.

NEWS: ANDREA PINHEIRO ARTWORKS AVAILABLE

Andrea Pinheiro / Chamber 4 (Trellis) / Lightjet print / 48″ x 61″ / 2011

COOPER COLE is pleased to announce that the gallery now represents Canadian photographer Andrea Pinheiro.

Andrea Pinheiro (b. 1982, Canada) is an artist and curator working in photography, print, mixed media, paint, video and installation. She has exhibited across Canada and internationally. Recent exhibitions include Its All Gone Pear Shaped at Open Studio in Toronto, Bomb Book at Presentation House Gallery, and the Canadian Digital Print exhibition at the Novosibirsk Graphic Art Triennial, (Russia) and Not Photographs, a two-person exhibition with Damien Moppett at Satellite Gallery in Vancouver. She has completed a residency at the Banff Centre for the Arts and a curatorial residency at the Helen Pitt Gallery in Vancouver. She completed a Diploma of Studio Art at White Mountain Academy of the Arts in Elliot Lake, and a Masters of Fine Arts at the University of Alberta. She is currently an Assistant Professor at Algoma University in Sault Ste. Marie, ON where she is also the director of 180 Projects, an experimental exhibition space.

Andrea Pinheiro / Chamber 7 (Windowsill) / Lightjet print / 48″ x 60″ / 2011

To see a full selection works please visit Pinheiro’s artist profile.

For sales and press inquires please contact the gallery.

Installation: Mark DeLong & Joseph Hart

Installation images from out current exhibition Mark DeLong & Joseph Hart are now online.

To view more installations shots please visit this link.

The exhibition continues at the gallery until March 28, 2013.

For press and sales information please inquire with the gallery.

Exhibition: Sara Cwynar at Foam Photography Museum

Sara Cwynar has a solo exhibition opening at the Foam Photography Museum in Amsterdam later this month.

From the press release:

For the installation, Everything in the Studio (Destroyed), which will be presented at Foam 3h as part of the young talent programme of Foam, Sara Cwynar took all of the materials in her studio at one time, documented each item and arranged it into a digital plan where she could fit the entire contents into a corner of the gallery. She attempted to install the archive according to the plan, which quickly began to fall apart as images and objects were not how she had remembered them. She left the materials for a month, then destroyed the whole thing so that she would be forced to purge the archive – allowing herself to start anew, and documenting everything only with a camera. All that remains of this studio’s worth of materials is the image.

The piece begins with a text by Andy Warhol where he explains that he “hates nostalgia” so rather than keeping any of his saved mementos and ephemera around, he puts everything in labeled boxes and stores it in New Jersey before eventually throwing it away. He doesn’t want to live with his saved materials but he can’t immediately discard them either. This project is Sara Cwynar’s version of that idea: that the influence of an archive on an art practice is strong, but can also be overwhelming.

Sara Cwynar
Everything in the Studio (Destroyed)
Foam Photography Museum
Amsterdam, Netherlands
22 March – May 16, 2013

To see the full press release please visit the Foam Photography Museum.

For more information about Sara Cwynar and available works please contact the gallery.

Exhibition: Geoff McFetridge at Walker Art Centre

Gallery artist Geoff McFetridge is featured in an exhibition at the Walker Art Center, titled Graphic Design: Now in Production. McFetridge was also commissioned to install a film-strip inspired mural on the construction fence that encircles the Walker Art Centre.

Geoff also gave a fantastic lecture which can be viewed below.

For more images of McFetridge’s exhibition please visit the Walker Art Centre.

News: Georgia Dickie Exhibition in Montreal

Gallery artist Georgia Dickie will be presenting several works in an upcoming group show at Battat Contemporary in Montreal.

From the gallery press release:

The title of this exhibition is symbolic of both the development in three young artists’ practices as well as the ability of these artists to acknowledge the balance of the material and immaterial that defines the aesthetic in their work. Through the layering of paint, the arrangement of objects or the grouping of canvases, each of these artists bring elements of assemblage into their practice; the given materials become an undefined system of interchangeable parts.

For more information about Georgia Dickie please contact the gallery.

News: Marc Bell in Esquire UK

Gallery artist Marc Bell was recently featured in a fashion editorial in the March edition of Esquire UK.

Shot by Bela Borsodi, the photographer combined parts of Bell’s drawings with luxury items. Other artists to participate are Basil Wolverton and Rick Griffin. If you are in the UK make sure to grab yourself a copy of Esquire to see the full spread.

Installation: Static & Scrim

The current exhibition Static & Scrim continues at the gallery until February 23, 2013.

Static & Scrim

Glen Baldridge
Colby Bird
Patrick Brennan
David Kennedy Cutler
Sam Moyer
Sara Greenberger Rafferty
Ryan Wallace

To view more installations shots please visit this link.

For press and sales information please inquire with the gallery.

Press: Jen Stark Interviewed on Live Fast

Gallery artist Jen Stark was recently featured on Live Fast Magazine.

“A rising star on the global contemporary arts scene, her unique technique and her mastery of color and geometry fascinate. No wonder her intricate sculptural work – so hypnotic and colorful – has caught the attention of critics and collectors alike. You have to see it to believe it.”

See the full post here.

For more information about available works from Stark please contact the gallery.

Preview: Glen Baldridge

Glen Baldridge / Sunset / Printed Vinyl / Dimensions variable / 2013

Static & Scrim

Glen Baldridge
Colby Bird
Patrick Brennan
David Kennedy Cutler
Sam Moyer
Sara Greenberger Rafferty
Ryan Wallace

January 31, 2013 – February 23, 2013

Opening reception: Thursday January 31, 2012 / 6 – 10pm / facebook

For press and sales information please inquire with the gallery.

Press: Artinfo names Georgia Dickie top 30 under 30

Gallery artist Georgia Dickie was recently featured in Artinfo Canada’s top 30 under 30 list.

“Georgia Dickie, 23, is an artist. She received her BFA from OCAD and has exhibited at Nudashank Gallery in Baltimore, MD; Toronto’s MKG127, Erin Stump Projects; the Museum of Contemporary Canadian Art, and the Oakville Galleries. In February 2013, Dickie will be participating in the Soi Fischer Thematic Residency Program with the artist, Artie Vierkant. She is currently represented by Cooper Cole and will exhibit her first solo show with the gallery in April.”

To see the full list (which also features COOPER COLE Director Simon Cole) please visit Artinfo.

For more information about Georgia Dickie please contact the gallery.

Preview: David Kennedy Cutler

David Kennedy Cutler / Hollow Ground / MDF, UV epoxy resin, archival inkjet prints / 91″ x 29″ x 19″ / 2011

Static & Scrim

Glen Baldridge
Colby Bird
Patrick Brennan
David Kennedy Cutler
Sam Moyer
Sara Greenberger Rafferty
Ryan Wallace

January 31, 2013 – February 23, 2013

Opening reception: Thursday January 31, 2012 / 6 – 10pm / facebook

For press and sales information please inquire with the gallery.

Upcoming: Static & Scrim

Static & Scrim

Glen Baldridge
Colby Bird
Patrick Brennan
David Kennedy Cutler
Sam Moyer
Sara Greenberger Rafferty
Ryan Wallace

January 31, 2013 – February 23, 2013

Opening reception: Thursday January 31, 2012 / 6 – 10pm / facebook

For press and sales information please inquire with the gallery.

Press: Ryan Wallace on NY Arts Magazine

Gallery artist Ryan Wallace was featured on New York Arts Magazine.

“Do you see yourself as a painter? Do you care? I’ve always thought you fetishized the your surface.

RW: At the core yes, though sculpture has become increasingly important. These works still come from my understanding of painting. They are essentially still lifes. For me, abstract paintings have inherent psychological connotations. The sculptures that I make are generally recognizable things. The manner in which the realist objects are created, allow them to emote a similar tone to the abstractions I make with paint or collage materials. What they do is more important to me than what they are. I find that surface helps to unify the work. They have a kind of touch or attention to materials that is of my sensibility, rather than it all being the same style or thing. ”

To see the full post please visit New York Arts Magazine.

For more information about Ryan Wallace please contact the gallery.

Press: De-Accessioned featured on Artforum

Our current exhibition De-Accessioned was listed on Artforum as a critics pick.

“This is a surprisingly ambitious group show that doesn’t deal with deaccessioning as a reality (à la Michael Asher) but instead mines that term for the institutional mystery and intrigue it suggests. Deaccessioning is the shadowy process whereby museums get rid of works in their collections. As such, many of the works in this show are packed for transport—either rolled up, crated, stacked, or leaning against the walls. While some pieces overlap (notably Laura McCoy’s thickly worked foamcore boards resting within Georgia Dickie’s tape outlines), even those that are relatively clearly displayed are still essentially submerged into artist-cum-“curator” Lucas Soi’s overarching image of the show.

Operating like Louise Lawler in reverse, Soi arranged this show like a studio photographer composing an allegorical image of one of a museum’s darkest secrets. He even added crates when most of the work probably arrived at the gallery in the back of a cab. This sculptural intervention makes clear the disingenuous nature of Soi’s claim to “curate.” His decision to deploy Matthew Brown’s paintings rolled up and arranged on the floor as a grille or grating speaks to this as well, revealing him, in this exhibition at least, to be a sculptor more at ease working materially with the work of others.

The reversals—between paintings becoming sculptures and those sculptures themselves existing somehow “photographically,” almost posed as in a portrait studio—produces a fascinating aura of fake candor that through clear insincerity manages to release a weirdly affecting emotive yelp. Ultimately, it is this collision of confidence with insecurity, bubbling up from many of the tentative paintings themselves, which gives the show its own life.”

To see the review on line please visit Artforum.

De-Accessioned continues until January 19, 2013.

Join us for a talk with curator Lucas Soi this Saturday January 12, 2013 / 3:00pm – 4:00pm.

Exhibition: Ryan Travis Christian Museum Show at CAM Raleigh

Gallery artist Ryan Travis Christian has his first solo museum exhibition opening at the Contemporary Art Museum Raleigh, North Carolina opening February 22, 2013 through June 17, 2013.

“CAM Raleigh will be presenting a major exhibition of artworks by Ryan Travis Christian, titled Well, Here We Aren’t Again. This is Christian’s first museum show and will feature a large-scale wall drawing. Christian will spend three weeks in CAM Raleigh’s Independent Gallery creating a 26-foot long drawing. Visitors are welcome to watch his unique process of drawing during museum hours. Ryan Travis Christian is a Chicago-area artist who works primarily with graphite and ink. His images are constructed using abstract elements, comic utilities, and old fashion cartoon iconography.”

See the full press release at this link.

Event: Curator Talk

Join exhibition curator Lucas Soi as he tours De-Accessioned. Leading a walk around the gallery space that will reveal the contours of his curatorial composition, he will reminisce about the de-centralization of the exhibition space, institutional critique via art transportation materials, acts of appropriation through renouncing of the art object and the process of re-interpretation as camouflage.

Saturday January 12, 2013 / 3:00pm – 4:00pm

De-Accessioned is an exhibition that imagines the de-centralization of the exhibition space. Taking as its title the term describing the deliberate removal of an artwork from a museum’s permanent collection, it is one of the most controversial decisions an institution can make. Disrupting the “museum’s stated ambitions to assemble disparate objects into a single space and to bestow on them the intellectual, aesthetic, and categorical coherence of a collection, conserving these objects for posterity,” de-accessioning a work and releasing it back into the world is a process of re-interpretation. Separated from their functional context and circulated back into the real world, the works in De-Accessioned declare the transitory space between package and delivery as the site of exhibition. Many of the artworks on display use art transportation materials as their medium. In transit, the artwork assigns specific function to the practice of location, commanding a re-evaluation of its site-specificity. This socio-critical action allows works that are recognizable, such as paintings, to perjure the installation with their symbolism, leaving the audience to imagine a more appropriate arrangement in another ideal environment.

News: Holiday Hours

Sara Cwynar / Paranoia Forest

COOPER COLE would like to wish you and your family a safe and relaxing holiday season.

The gallery will be open by appointment only from December 23, 2012 – January 7, 2013 and will reopen with regular gallery hours on Tuesday January 8, 2013. To request a private appointment please contact the gallery.

Our current exhibition De-Accessioned continues until January 19, 2013. Join us for a conversation with curator Lucas Soi and Cheyanne Turions on Saturday, January 12th at 3pm.

Installation: De-Accessioned

The current exhibition De-Accessioned continues at the gallery until January 19, 2013.

De-Accessioned

Matthew Brown
Georgia Dickie
Charles Gute
Colleen Heslin
Lili Huston-Herterich
Laura McCoy
Abby McGuane
Tegan Moore
Les Ramsay
Sean Weisgerber
Jay Wilson

Curated by Lucas Soi

To view more installations shots please visit this link.

For press and sales information please inquire with the gallery.

Press: Maya Hayuk featured in Brooklyn Magazine

Gallery artist Maya Hayuk was recently featured in Brooklyn Magazine. 

See the article here to get a look inside Maya’s studio.

“What are the three inanimate things you’d save first in a fire?
All of my external hard drives, my archive of photographs, the pillow my grandmother embroidered in 1923, when she was 13 years old.”

Press: Jen Stark featured on It’s Nice That

Gallery artist Jen Stark was recently featured on It’s Nice That.

“The Miami-born master of colour and form embraces complexity but in a fully inclusive way, creating pieces that are both immediately satisfying and infinitely intriguing.”

To see the full post please visit It’s Nice That.

 

Press: Sara Cwynar feature in Macleans

Gallery artist Sara Cwynar received a nice mention in a recent Macleans article profiling Canadians at the art fairs in Miami.

“Cooper Cole gallery has enjoyed a meteoric rise to the top of Toronto’s West-end gallery scene, thanks in large part to star pupil Sara Cwynar, who along with a mini army of CC’s best and brightest, will be featured at Miami Project, the freshman of this year’s slew of satellite fairs. Born in Vancouver but based in Brooklyn, Cwyer, a graphic designer and illustrator who moonlights as both at New York Times magazine, has the impressive resume, the of-the-moment aesthetic, and just-the-right dose of attention from just-the-right tastemakers to make us all think one thing: girl’s about to blow.”

To see the full article please visit Macleans online.

Art Fair: COOPER COLE at the Miami Project

COOPER COLE is pleased to announce our participation in the Miami Project.

The gallery will be exhibiting artists Sara Cwynar, Chris Duncan, Maya Hayuk, Anders Oinonen, and Jen Stark.

Please visit us at Booth 719.

Miami Project | December 4-9, 2012 | Midtown Miami
Miami Project is an international art fair held December 4-9, 2012 in the Midtown Miami / Wynwood District.

For sales and media inquires please contact the gallery.

News: Jen Stark Artworks Available

Holographic Square / Acid-free foam board, holographic paper, glue, wood & paint / 36″ x 17″ x 17″ / 2012

COOPER COLE is pleased to announce that we have two brand new free standing sculptural works available from gallery artist Jen Stark.

Both these works will be featured at our booth this week during the Miami Project Art Fair.

Holographic Circle / Acid-free foam board, holographic paper, glue, wood & paint / 35.5″ x 20″ x 20″ / 2012

Jen Stark’s practice is based on the concepts of replication and infinity, her artwork echoing patterns found in nature. The artist’s optically and formally baffling sculptures, animations, and drawings are inspired by plants, outer space, and the theories of colour, math and science. Her creations incorporate a variety of materials which produce optically hypnotic effects not unlike traditional mandalas and sacred objects. Jen Stark has exhibited her works in various galleries and museums across North America and Europe. Stark lives and works in Los Angeles, California.

For sales inquires please contact the gallery.

Upcoming: De-Accessioned

De-Accessioned
Matthew Brown, Georgia Dickie, Charles Gute, Colleen Heslin, Lili Huston-Herterich, Laura McCoy,
Abby McGuane, Tegan Moore, Les Ramsay, Sean Weisgerber, Jay Wilson
December 14, 2012 – January 19, 2013

Opening reception: Friday December 14, 2012 / 6 – 10pm / facebook

For press and sales information please inquire with the gallery.

Press: Geoff McFetridge Interviewed by Artinfo

Artinfo recently ran a feature on Geoff McFetridge interviewing him about his current show at the gallery.

“When graphic designer and skate-culture icon, Geoff McFetridge, was advertised to be exhibiting new work at Toronto’s Cooper Cole – what is increasingly becoming the city’s platform for young, international, and typically pop-minded talent — one could hear the country’s subterranean street culture step a little closer to the surface. Former art director of the Beastie Boys’ underground “Grand Royal” magazine, and typography designer for Sofia Coppola’s “Virgin Suicides” and Spike Jonze’s “Where The Wild Things Are,” the Calgary-born, LA-based McFetridge has earned his credit on a stratified cultural playing field [such that even his more corporate clients, like Pepsi, Nike, and Gap, seem better for his touch (not McFetridge worse for theirs)].

Amid these various design-centered, multidisciplinary initiatives, McFetridge has long maintained a presence in the art world, presenting solo exhibitions in Los Angeles, Berlin, Paris, London, New York, and Japan. Uniquely, “Floating,” McFetridge’s exhibition at Cooper Cole (on until December 8) marks the artist’s first show in Canada.”
-Sky Goodden

To see the full post please visit Artinfo.

Geoff McFetridge
Floating
November 9 – December 8, 2012

For sales and press inquires please contact the gallery.

News: Caledonia Curry (Swoon) Artworks Available


Irina / Blockprint with spraypaint on found wood / 24″ x 24″


Bethlehem Boys / Screenprint pasted on found wood / 52″ x 39″

COOPER COLE has a new inventory of original work available from gallery artist Caledonia Curry (Swoon).

Caledonia Curry is a Brooklyn based artist better known under her moniker Swoon. Curry draws her inspiration from historical and folk sources as diverse as German Expressionist woodblock prints and Indonesian shadow puppets. Creating stunningly beautiful life-sized character studies from paper cutouts, woodblock prints and linocuts, her worlds are often populated by realistically rendered – and evocatively cut-out – street people, often her friends and family. Riding bikes, talking on a stoop, going grocery shopping – these people traverse a cityscape of her own unique invention. Swoon is a master of using cut paper to play with positive and negative space in a conceptually driven exploration of the experience of the streets. She has designed and built several large-scale installations, most notably the Swimming Cities of Switchback Sea at Deitch Projects in 2008. Her work can be found in sophisticated collections across the world including The Museum of Modern Art, The Brooklyn Museum of Art, and the Tate Modern.

To see all available works online please follow this link.

For information regarding pricing and availability please contact the gallery.

Press: Geoff McFetridge featured on The Grid

Our current show with Geoff McFetridge was featured in this weeks issue of The Grid.

Pick up a copy of The Grid or see the article online here.

“In “Passing,” for example, one of the paintings in McFetridge’s current show, two cyclists ride by each other in opposite directions, yet the tension between them is palpable. McFetridge captures the exact moment they meet, a moment full of potential that we sense will go unfulfilled. The cyclists could turn to look at each other, they could dismount and chat, they could fall in love. But they won’t—they’re just passing. “You grow accustomed to working with the language of your culture and then you realize it’s actually universal,” he says.”

Geoff McFetridge
Floating
November 9 – December 8, 2012

For sales and press inquires please contact the gallery.

News: Geoff McFetridge Print Release

COOPER COLE is pleased to announce the release of a limited edition print from Geoff McFetridge. This multiple is being released in conjunction with McFetridge’s current exhibition now on display at the gallery.

Prints can be purchased online via paypal or by contacting the gallery directly.

Geoff McFetridge
Chopping Stripes
4 colour screen print
29″ x 22″ (76.2cm x 55.9cm)
Signed & numbered
Limited edition of 35
2012


Shipping Options:




Geoff McFetridge
Floating
November 9 – December 8, 2012

www.coopercolegallery.com

Press: Geoff McFetridge Interviewed by SLAMXHYPE


Our current show with Geoff McFetridge was featured on SLAMXHYPE.

McFetridge was interviewed and profiled in his Los Angeles studio space for the article.

“I draw many many pieces when before I do a show, developing imagery. Images really carry my paintings as technically they are extremely simple and flat. For me it is the image that is central to every painting. The images come out of things I see, or imagine I saw, or ideas that I continue to explore and repeat. Much of the work involves figures, rendered in their most simplistic form. Once I have an image that resonates with me, I really refine it, reducing it to the point to where it is almost falling apart visually. I am interested in visual cliches. For years my graphics came out of finding, and inventing and tweaking common language and graphics. The work was not referential though. I was not appropriating images. I have tried to make original work that somehow felt familiar, so familiar that it feels appropriated.”

See the full post on SLAMXHYPE.

Geoff McFetridge
Floating
November 9 – December 8, 2012

For sales and press inquires please contact the gallery.

 

Press: Art Forum Critic’s Pick Chicago Imagists Group Show

Gallery artists Anders Oinonen and Marc Bell are both included in the current exhibition at the DePaul Art Museum in Chicago. This exhibition explores work by contemporary artists who draw inspiration from an earlier generation of artists known as the Chicago Imagists.

The show was chosen by Artforum as a Critics’ Pick.

“…reminds viewers of the original movement’s loosely associated idiosyncrasies: figural forms, often with a combination of hieratic graphic precision and grotesque distortion, comic juxtaposition and cryptic text, recurrence of motifs and the suggestion of hidden or symbolic meaning, and strong colors not of the Pop art Day-Glo variety but out of comic books, Surrealist painting, and homespun craft.”

To see the full article, visit ArtForum.

DePaul Art Museum
Afterimage
September 14 – November 18, 2012

Press: Geoff McFetridge Featured on Complex

Our current show with Geoff McFetridge was previewed on Complex.

“At Toronto’s Cooper Cole Gallery, McFetridge’s signature style and humor sings through neat compositions with even neater titles. The show is titled Floating.”

See the full post on Complex.

Geoff McFetridge
Floating
November 9 – December 8, 2012

For sales and press inquires please contact the gallery.

Upcoming: COOPER COLE in Miami

COOPER COLE is pleased to announce our participation in The Miami Project.

The gallery will be exhibiting artists Sara Cwynar, Chris Duncan, Maya Hayuk, Anders Oinonen, and Jen Stark.

Please visit us at Booth 719.

The Miami Project | December 4-9, 2012 | Midtown Miami
Miami Project is an international art fair held December 4-9, 2012 in the Midtown Miami / Wynwood District.

For sales and media inquires please contact the gallery.

Press: Maya Hayuk featured on Design Milk

Our recent show with Maya Hayuk was featured on Design Milk.

“This wall covered in layered canvases becomes a three-dimensional installation of criss-crossing, brightly colored lines full of eye-catching depth.”

To see the full post please visit Design Milk online.

For sales inquires please contact the gallery.

Press: Geoff McFetridge Previewed on 12ozProphet

Our upcoming show with Geoff McFetridge was previewed on 12ozProphet.

“Los Angeles-based, Calgary-born artist Geoff McFetridge is set to open Floating at Cooper Cole Gallery in Toronto on November 9, 2012. This will mark McFetridge’s first show in his native land of Canada.”

See the full post on 12ozProphet.

Geoff McFetridge
Floating
November 9 – December 8, 2012

For sales and press inquires please contact the gallery.

Press: Geoff McFetridge Previewed on Trendland

Our upcoming show with Geoff McFetridge was previewed on Trendland.

“You should already know artist Geoff McFetridge for his work with The New York Times, Colette or Nike. His very graphic signature style of pastel colors and simple shapes made him famous in the graphic design and art world. McFetridge has an upcoming new solo exhibition at Cooper Cole in Toronto, so if you are around, you should definitely check it out!”

To see the full post visit Trendland.

Geoff McFetridge
Floating
November 9 – December 8, 2012

For sales and press inquires please contact the gallery.

Press: Geoff McFetridge previewed on Juxtapoz

 

 

 

 

 

Our upcoming show with Geoff McFetridge was previewed on Juxtapoz Magazine.

“An artist we cover on the site often, and one who has become a painter with an increasingly signature style and approach to the age old idiom, ‘less is more,’ Los Angeles based, Calgary-born Geoff McFetridge is set to open Floating at Cooper Cole Gallery in Toronto on November 9, 2012.”

See the full post on Juxtapoz.

Geoff McFetridge
Floating
November 9 – December 8, 2012

For sales and press inquires please contact the gallery.

Press: Geoff McFetridge previewed on Lodown Magazine

Our upcoming show with Geoff McFetridge was previewed on Lodown Magazine.

Geoff McFetridge
Floating
November 9 – December 8, 2012

To see the full post visit Lodown Magazine.

For sales and press inquires please contact the gallery.

Press: Permanent Demand Featured in NOW Toronto

Our current exhibition Permanent Demand featuring Andrew Jeffrey Wright, William Buzzell, and Jesse Harris was mention in NOW Toronto Magazine.

“Art as product and commodity is the target of Permanent Demand, a group show of three artists. Together their pieces form a satiric trifecta that skewers art as both rarified object and capitalist fetish.”

“Andrew Jeffrey Wright addresses the theme with a series of drawings tracing the manufacture of “products” like a Nike sneaker, a painting and a baby. Paintings are made from a palette that includes noxious bodily fluids like “snot” and “pus,” and Nike sneakers apparently can’t be made without the blood of children. However bleak their underlying point, these lo-fi drawings still radiate a gleeful punk rock nihilism that brings to mind 90s kitchen-sink zines. ”

To see the full post please visit NOW Toronto.

Permanent Demand featuring Andrew Jeffrey Wright, William Buzzell, and Jesse Harris continues until November 3, 2012.

For sales and press inquires please contact the gallery.

News: Les Ramsay Artworks Available

Les Ramsay / Artist Studio / 2012

 

COOPER COLE is pleased to announce that the gallery now represents Canadian artist Les Ramsay.

Currently a resident of Montreal, Vancouver based artist Les Ramsay works in exploring techniques in abstract painting and sculpture. His work investigates tropes found in modern art and everyday life. Ramsay’s dedicated studio practice expands into other mediums such as collage, drawing, photography, and video. Les Ramsay is presently a student in the MA Painting program at Concordia University. He received his BFA in Visual Arts in 2007 from the Emily Carr University in Vancouver, and also studied at the Bellas Artes, Universidad Politécnica de Valencia, Spain. His work has been exhibited in Canada, Spain, Sweden, and the United States.

To see a full selection of works please visit Ramsay’s artist profile.

For sales and press inquires please contact the gallery.

Northern Lights / Towel, pastel, tempera, and oil on cotton / 62″ x 48″ / 2012

 

 

Press: Permanent Demand Featured on Frameweb

Our current exhibition Permanent Demand featuring Andrew Jeffrey Wright, William Buzzell, and Jesse Harris got a mention on Netherlands based design blog Frameweb.

“Running until 3 November at Cooper Cole Gallery in Toronto, Permanent Demand explores the ideas of art as a commodity and the consequences of consumer culture through the eyes of three very different artists: Andrew Jeffrey Wright, William Buzzell and Jesse Harris.

Andrew Jeffrey Wright approaches the subject through both humorous and somewhat satirical line drawings or through colour permeated canvases; William Buzzell uses three dimensional collages to talk about consumerism, while Jesse Harris work is statement oriented, using readily available materials and familiar forms and language.

The work of the these three artists comes together in an eclectic dialogue that share the same preoccupations and influences of a generation.”

To see the full post please visit Frameweb.

Permanent Demand featuring Andrew Jeffrey Wright, William Buzzell, and Jesse Harris continues until November 3, 2012.

For sales and press inquires please contact the gallery.

News: Georgia Dickie Artworks Available

Georgia Dickie / Smoking Gun / Metal, rope / 12″ x 87″, height variable / 2012

 

COOPER COLE is pleased to announce that the gallery now represents Canadian artist Georgia Dickie.

Georgia Dickie (born 1989, Toronto, Canada) graduated with a BFA from the Ontario College of Art and Design in 2011. Her work addresses the complexities of contemporary object-based practice, and is characterized by a deep interest in found materials and their inherent limitations. Recent exhibitions include group showings at the Oakville Galleries, and the Museum of Contemporary Canadian Art. Dickie will be have a solo exhibition at COOPER COLE in April, 2013.

To see a full selection works please visit Dickies’s artist profile.

For sales and press inquires please contact the gallery.

Press: Jesse Harris featured on Juxtapoz

Jesse Harris’ recent mural project was featured on Juxtapoz Magazine.

“Toronto-based multi-disciplinary artist, Jesse Harris, who was recently included in a group show entitled “Permanent Demand” at Cooper Cole gallery, has completed a new mural in the West Queen Street Neighborhood of Toronto. “You’ve Changed” is meant to comment on local gentrification of West Queen Street and to support a positive message to patients visiting the adjacent Centre from Addiction and Mental Health.”

To see the full post please visit Juxtapoz online.

Press: Permanent Demand featured on Beautiful Decay

Our current exhibition Permanent Demand featuring Andrew Jeffrey Wright, William Buzzell, and Jesse Harris got a mention on art blog Beautiful Decay.

“If you’re in Toronto, or going to be before november 3, you should check out Permanent Demand at Cooper Cole Gallery right now. CC put together some smart, funny, and energetic pieces loosely about art and consumerism by Jesse Harris, William Buzzell, and Andrew Jeffrey Wright to make what looks to be a great show.”

To see the full post please visit Beautiful Decay.

Permanent Demand featuring Andrew Jeffrey Wright, William Buzzell, and Jesse Harris continues until November 3, 2012.

For sales and press inquires please contact the gallery.

News: Jesse Harris Mural in Toronto

Jesse Harris recently completed a large scale mural in Toronto.

This mural project titled “You’ve Changed” was completed in October of 2012. The mural is located at 1075 Queen Street West, adjacent to the Centre for Addiction and Mental Health in Toronto. The mural provides a positive message to CAMH patients as well as comments on the rapid gentrification and changing face of the West Queen Street West neighbourhood. This project was coordinated by Spectrum Art Projects and COOPER COLE Gallery, documented by Jeremy Jansen, and partially funded by the City of Toronto’s StreetARToronto (StART) Partnership program.

For press and sales inquires please contact the gallery.

Installation: Permanent Demand

Andrew Jeffrey Wright, William Buzzell, and Jesse Harris’ exhibition Permanent Demand continues at the gallery until November 3, 2012. To view photos of the installation please click this link.

For press and sales information please inquire with the gallery.

Press: William Buzzell featured on The World’s Best Ever

William Buzzell was recently profiled on NYC based lifestyle blog, The World’s Best Ever.  

William explains the subject behind a selection of works from our current show Permanent Demand.

To see the full post please visit The World’s Best Ever.

For press and sales inquires please contact the gallery.

Upcoming: Andrew Jeffrey Wright / William Buzzell / Jesse Harris

Andrew Jeffrey Wright, William Buzzell, Jesse Harris
Permanent Demand
October 11, 2012 – November 3, 2012

Opening reception Thursday October 11, 2012 / 6 – 10pm / facebook

For press and sales information please inquire with the gallery.

Press: Maya Hayuk on Two Coats of Paint

Maya Hayuk’s current exhibition was featured on NYC blog Two Coats of Paint.

“Over the past decade or so, a slew of galleries have popped up in the west end of Toronto, giving the city’s art scene a much appreciated injection of vitality. The burgeoning contemporary art hub along the Ossington strip and west Queen West has garnered international attention and acclaim, and deservedly so. Here’s a quick round up of notable painting shows in Toronto this month.

With influences ranging from Ukranian Easter eggs to chandeliers to holograms, Maya Hayuk’s Multi Versus could be described as psychedelia for the 21st century. Organized chaos reigns on canvases splashed with vibrant rainbow hues, intermixed with freehand geometric line work. A member of artist collective Barnstormers (other members include Chuck Webster, Doze Green, and Ryan McGinness) and frequent collaborator with a variety of musicians including M.I.A., The Beastie Boys, and Animal Collective, Brooklyn-based Hayuk’s oeuvre also includes silk-screening, set design, video work, and internationally commissioned murals.”

To see the full post please visit Two Coats of Paint.

Maya Hayuk’s exhibition Multi Versus continues at the gallery until October 6, 2012.

To view photos of the installation please click this link.

For press and sales information please inquire with the gallery.

News: Maya Hayuk at Bonnefanten Museum

Here is a behind the scenes look at Maya Hayuk’s installation at the Bonnefanten Museum in the Netherlands.

Her solo exhibition recently opened and is in dialog with BACA Laureate 2012 award winning artist Mary Heilmann.

Maya Hayuk’s exhibition Multi Versus continues at the gallery until October 6, 2012.

To view photos of the installation please click this link.

For press and sales information please inquire with the gallery.

Press: Ryan Travis Christian featured on New City Art

Ryan Travis Christian was recently listed as one of the top 50 artists working in Chicago by New Art City.

Ryan Travis Christian has one of the most strikingly recognizable styles in Chicago right now. His monochrome graphite drawings pull cartoony caricatures into chiaroscuro smokescreens—hallucinogenic residue or a terrorist’s daydream? The compositions are complicated, the figures unnerving. His 2011 exhibition, “The River Rats,” at Western Exhibitions, set the stage for his meandering, twisted path to portraiture; a crisp Surrealist interpretation of the after-dark alley cat junk aesthetic so readily plucked from 1920s Disney animations, yet recall the human comedy and tragedy of James Ensor’s masks. Christian is also an energetic promoter of peers on the web, resulting in invitations to collaborate on drawings exhibited around the country.

To see the full list please visit New Art City.

For more information about available works from Ryan Travis Christian please contact the gallery.

News: Marc Bell in the Canadian Art Auction

Gallery artist Marc Bell has a work in the upcoming Canadian Art Foundation auction.

Now in its 17th year, the Canadian Art Gallery Hop Gala and Auction is Toronto’s signature visual-art event, attracting a who’s who of the Canadian contemporary art scene. This year’s event is inspired by the impact of conceptualism on art-making in this country. The venue—the elegant Carlu ballroom—will, for one night only, be transformed by artists An Te Liu and Micah Lexier into an incredible experience for gala attendees.

Our live and silent auction showcases an exceptional selection of artworks by Canada’s emerging and established art stars. It provides the perfect opportunity to acquire a new work of art while supporting artists and the Canadian Art Foundation, one of Canada’s most respected visual-arts organizations.

We are delighted to welcome Lisa Dennison, Chairman, Sotheby’s North and South America, who will share her knowledge of the current art market with gala guests. Over the course of her distinguished career, Ms. Dennison has developed outstanding relationships with important collectors, artists and experts worldwide. She is an internationally recognized figure in the fields of modern and contemporary art. We are equally delighted to have Senior Auctioneer, C. Hugh Hildesley, conduct the live auction. Hildesley has conducted some of Sotheby’s most prestigious sales, including the Jacqueline Kennedy Onassis Sale and the Sale of the Property of the Duke and Duchess of Windsor. He holds the record for the highest selling price at auction of any Canadian painting: Paul Kane’s Scene in the Northwest—Portrait of John Henry Lefroy in 2002 for $5.2 million.

To view the available work and bid online please visit this link.

COOPER COLE will also be participating in the Canadian Art Gallery tour on Saturday September 22, 2012.

For more information about Marc Bell please contact the gallery.

News: Jen Stark and Swoon works in upcoming RE:DEFINE Auction

Gallery artists Jen Stark and Swoon will have a works available at the upcoming RE:DEFINE auction in aid of the MTV Staying Alive Foundation.

The event press release can be read below.

Following unprecedented success for the debut event in 2011, RE:DEFINE in aid of the MTV Staying Alive Foundation returns to the Goss-Michael Foundation in Dallas with a significantly enhanced program and another high-profile lineup of contemporary art, much of which has been produced exclusively for the event.

Curated once again by The Future Tense, the contributing artists are as follows:

Yasmine Arman, Charming Baker, Lee Baker, Scott Campbell, Mat Collishaw, Chuck Elliott, Ryan Gander, James Hugonin, Ralf Kaspers, Jim Houser, Tat Ito, Tom Leighton, Michael Craig-Martin, Pedro Matos, Tomokazu Matsuyama, Mary McCartney, Ryan McGinness, Matt Mignanelli, Aakash Nihalani, Parra, Marc Quinn, Gérard Rancinan, Michael Reisch, Jen Stark, Kai and Sunny, Swoon, Juergen Teller, Mark Webber, Dave White.

Key lots include a stunning new orchid painting by Marc Quinn, a large work from Ralf Kasper’s Summerland series, a specially commissioned canvas by Ryan McGinness and a unique work from Gérard Rancinan, who recently broke the world auction record for a living French photographer at Phillips de Pury London.

The full catalogue for the event featuring details of all lots can be found at http://www.mtvredefine.com/catalogue.php with printed catalogues available on request.

In addition to the exhibition and auction, the event is complemented by a dynamic range of supporting activities, including a 100ft public mural in downtown Dallas by Lee Baker, exclusive limited edition RE:DEFINE t-shirts designed by Parra, a specially-commissioned fine art print edition by Mark Webber and live painting at the gala auction by Dave White.

The accompanying silent auction features over 20 exclusive luxury packages including a bespoke furniture piece from 2011 Designer of the Year award winner, Lee Broom, a sitting with photography duo Inez and Vinoodh, a unique series of art-inspired jewelry by Royal Asscher and a private concert orchestrated by Musical America’s ‘Conductor of the Year 2012’, Jaap Van Zweden.

RE:DEFINE will open to the public from September 14 – 21 with the live auction taking place at an exclusive gala reception on September 22, hosted by Simon de Pury, Chairman of Phillips de Pury & Company. 100% of the proceeds from the auction will benefit the MTV Staying Alive Foundation, which encourages, energizes and empowers young people who are involved in HIV and AIDS awareness, education and prevention campaigns.

Collectors unable to attend the event in person will have a wide range of absentee bidding options, including proxy and telephone bidding, as well as live online bidding via Live Auctioneers: http://www.liveauctioneers.com/catalog/32405

Full absentee bidding information can be found at: http://mtvredefine.com/absentee_bidding.php

Tickets for the VIP gala are available from: http://redefine2012.eventbrite.com/

Sponsors of RE:DEFINE 2012 include The Joule Hotel, Neiman Marcus, Belvedere Vodka, D Magazine and ic! berlin.

Press contact:

Barbara Buzzell – bb@buzzellco.com

ABOUT MTV INTERNATIONAL’S STAYING ALIVE FOUNDATION

The MTV Staying Alive Foundation is a global grant-giving and content-producing public charity operating in affiliation with MTV Networks International.

In 1998, MTV launched the Staying Alive TV series, which grew to be the world’s largest multimedia HIV prevention and awareness campaign for young people, including documentaries, dramas, public service announcements, websites, events and forums.

Created in 2004, the MTV Staying Alive Foundation expanded the initiative in to a charitable, grant-giving organization to support youth-led initiatives committed to stopping the spread of HIV in local communities.

To date, the Foundation has awarded 304 grants in 61 countries across the world, distributing over $3 million.  The MTV Staying Alive Foundation is dedicated to fighting stigma and discrimination and empowering young people to protect themselves against the disease.  The MTV Staying Alive Foundation is registered as a UK charity and as a 501c3 charitable organization in the US.

For more information visit http://stayingalivefoundation.org

For more information about Jen Stark and Swoon please contact the gallery.

News: Mark DeLong Artworks Available

COOPER COLE is pleased to announce that we have a new inventory of paintings and sculptures available from Vancouver based artist Mark DeLong.

Mark DeLong, born 1978 in New Brunswick, is a self taught artist working in a variety of mediums including drawing, painting, sculpture and video. His work has been displayed at Colette, Paris; Bee Studios, Tokyo; Spencer-Brownstone Gallery, New York; Abel Neue Kunst Gallery, Berlin; Perugi Art Contemporenea, Padova, Italy; Museum Of Contemporary Canadian Art, Toronto; LES Gallery, Vancouver; Little Cakes, New York; and COOPER COLE in Toronto. Delong has collaborated with such artists as Paul Butler, Jason McLean, Jacob Gleeson, and Geoffrey Farmer. His work has been seen in Border Crossings and Canadian Art Magazine and he has published books with Nieves, Switzerland; Seems Books, and TV Books in New York. DeLong currently lives and works in Vancouver, Canada. DeLong will be participating in a two person exhibition at COOPER COLE in March 2013 with artist Joseph Hart.


Ocean Water For Wiggle / Acrylic on porcelain / 2012

To see a full selection of available works please visit DeLong’s artist profile.

For sales and press inquires please contact the gallery.

News: Anders Oinonen & Marc Bell at the DePaul Art Museum in Chicago

Gallery artists Anders Oinonen and Marc Bell are both included in an upcoming exhibition at the DePaul Art Museum in Chicago.

The DePaul Art Museum will explore work by contemporary artists who draw inspiration from an earlier generation of Chicago artists known as Imagists in “Afterimage,” which opens September 14. Free and open to the public, the exhibition runs through Nov. 18.

Emerging in the late 1960s, Imagist artists in Chicago challenged the dominant principles of Pop and abstraction, their figural distortion and hot palettes derived from countless vernacular sources like advertising and comics. Decades later, the Imagists’ stance still resonates for a new generation of contemporary artists, whose work builds on and expands this legacy. Afterimage provides a new view of contemporary art of the region and also explores the larger question of how to understand the processes of influence and appropriation.

Three partner exhibitions at other Chicago venues provide deeper understanding of both the contemporary artists in Afterimage and the Chicago Imagists: The Roger Brown Study Collection, the Center for Book and Paper Arts, and the Joan Flasch Artists’ Book Collection.

Afterimage is curated by Thea Liberty Nichols and Dahlia Tulett-Gross and organized by the DePaul Art Museum. The exhibition publication will be available for purchase at the museum.

For more information about the exhibition please visit DePaul Art Museum.

For more information about either artist please contact the gallery.

Press: Sara Cwynar featured on Paper Mag

Gallery artist Sara Cwynar received a nice mention on Paper Mag.

“Brooklyn based artist Sara Cwynar is a graphic designer and illustrator for The New York Times Magazine as well as an avid collector of all sorts of shit. Her most recent solo show, “Accidental Archives” was a selection of wild, color-coded mini dioramas of her possessions that were photographed and displayed at the Cooper Cole Gallery in Toronto. All of Cwynar’s work is worth exploring but her projects “Kitsch Encyclopedia” and “Paranoia Archive” are two of my favorites that you can view along with much much more on her website. ”

To see the full post please visit Paper Mag online.

For more information about Sara Cwynar please contact the gallery.

Press: Ryan Wallace featured on Sight Unseen


Gallery artist Ryan Wallace was recently featured on Sight Unseen.

“To get an idea of how Ryan Wallace approaches materials, look no further than one of the walls of his studio, made from the kind of slatboard paneling that a Chinatown souvenir shop might use to stack metal shelves full of I ♥ New York T-shirts. When Wallace found the studio last year, it was perfect otherwise — a clean, well-lit space above Paulie Gee’s pizza in Greenpoint, Brooklyn, right near his apartment. “At first I thought the wall was kind of gross,” he says. But he slowly began to accept it on a purely functional level; the way things could be hung at different heights was ideal for a painter. “I thought, ‘What can I do with this?’ A thing like that gets planted in my head, and eventually it finds its way into the next thing I’m doing.”

If this open-minded approach to materials is the foundation of Wallace’s work, an interest in existential scientific questions is its overriding concept. Growing up on the East Coast, Wallace was never particularly spiritual or religious, but he always found himself reading special editions of Time about the latest theories of the universe. His formal education at RISD only proved to him that artists and scientists are more alike than not. “We’re both on some sort of quest for discovery,” he says. He’s been fascinated in recent years by the Large Hadron Collider at CERN, which served as an inspiration point for his one-man show at Morgan Lehman Gallery earlier this year. For “Cusp,” he created three new series of abstract paintings — Glean, Atlas, and Tablet — which, as their names suggest, meditate on information overload, geography, and data in different visual ways. From a purely material perspective, they use soft solids like oil, enamel, ink, graphite, PVA, Mylar, artist tape, and cut paper, stretched and bound and sorted and scored into a four-cornered ordered object. As physical objects, however, they are layered and compressed with so much visual data that they become, as Wallace puts it, “a surface that stores information.”

To create the pieces in his new series, Wallace began cutting into the paintings and building them from the inside out. The collage-based paintings consist of a fastidious arrangement of hundreds of tiny pieces of paper and tape leftover from other projects. A sheet of Mylar is glued over the whole thing, leaving random-looking air bubbles in pockets over the piece. “The Mylar gives this kind of neurotic process an element of total chance,” he says. “If it was just little things arranged on a surface, it would be too design-y for me.” But it’s also consistent with his process. “I never use anything the right way,” he says. “You’re definitely not supposed to wrap a canvas in Mylar.”

Using materials the wrong way, however, seems to bring serendipitous results. A series of freestanding vitrines for his show at Morgan Lehmann used automotive tints and one-way mirror film to raise some plaster casts he’d made of ordinary rocks to the status of sacred object. “My work’s not sarcastic in this way, but I’m using stuff that 16-year-olds put on their Civics to be macho and fancy,” Wallace says. “And at the end of the day, I also think they’re really beautiful. Whenever I go from painting to printmaking to sculpture, it’s always about what can this medium do that that medium can’t do.”

For Wallace, a little discovery — like how his Mylar paintings ended up having a waxy surface texture — can result in an entire body of work. He even found a couple of 4x8s of his studio’s god-awful paneling in the stairwell of the building earlier this year, and he’s now begun using it to make pedestals. He even may be beginning to like it. “It’s scrappy, it’s industrial,” he says, listing off a few adjectives he considers compliments. “And it’s got this design element to it, but it’s a crummy one. That balance of elegance and crum is really important to me.”

To see the full post and accompanying photo essay please visit Sight Unseen.

For more information about Ryan Wallace please contact the gallery.

News: Sara Cwynar talk at the Apple Store in SoHo, NYC

This evening, gallery artist Sara Cwynar will be part of a talk at the Apple Store in SoHo, NYC.

Below is the press release for the event.

ADC Young Gun Sara Cwynar (YG9) will be appearing @ the Apple Store SoHo, NYC on August 27, 2012.

Sara Cwynar studied graphic design and photography at York University in Toronto and English at the University of British Columbia. Cwynar has exhibited with Art Metropole at Art Basel, at The Magenta Flash Forward Festival, at Butcher Gallery, 107 Shaw Gallery, and the Royal College of Art. Her clients include The New York Times Magazine, 01 Magazine, Brooklyn Magazine, Globe clothing, and The Drake General Store. She is one of Print Magazine’s 20 Under 30 New Visual Artists for 2011. She works as a graphic designer at the New York Times Magazine.

Monday, August 27, 2012
6:30 – 8:00 PM
Apple Store SoHo
103 Prince St New York, NY

Free, no reservation required. For more information please visit the ADC Young Guns website.

News: Summer Hours

COOPER COLE will be closed for summer holidays from August 19 – September 6.

The gallery will open our fall season on September 6th with a solo exhibition from Maya Hayuk as well as a project exhibition from Jacob Ciocci.

Maya Hayuk / Jacob Ciocci (project exhibition)
Septmber 6 – October 6

Andrew Jeffery Wright, William Buzzell, Jesse Harris
October 11 – November 3

Geoff McFetridge
November 8 – December 8

For press and sales information please inquire with the gallery.

Press: Sara Cwynar featured on 1883 Magazine

Sara Cwynar’s exhibition Accidental Archives was featured on London, UK based 1883 Magazine’s blog.

“Canadian photographer Sara Cwynar uses what could otherwise be seen as junk to create a beautiful colour spectacle. In Accidental Archives, Cwynar has collected objects over the last decade and meticulously arranged them into colour order to create a vibrantly retro collection giving your average household goods a new lease of life.

“It’s about working through all the junk and souvenirs and photos we accumulate,” says Cwynar. “And also the collective body of photographs we see and understand in our culture.”

You can see Accidental Archives at the Cooper Cole Gallery in Toronto until Saturday.”

To see the full post please visit 1883 Magazine’s blog.

Press: Sara Cwynar Featured on American Photography Magazine

Sara Cwynar’s exhibition Accidental Archives was featured on American Photography Magazine’s blog.

“If you’re a collector of some sort, chances are you’ll appreciate Sara Cwynar’s project “Accidental Archives.” Using objects that she accumulated over the course of a decade, Cwynar has sorted them out by color, and photographed them on a background of the same shade. The result is a series of somewhat eerie still lifes, in which all sorts of things compete for attention with each other. My favorite might be the green one, in which the jaw of some scaly creature finds itself next to a can of soda, and a few plants. It’s actually not the first time that we’ve seen a photography project which groups together objects of similar colors; back in April, we wrote about JeongMee Yoon’s “The Pink & Blue Project,” which looks at the way that color has come to be associated with gender. Cwynar’s project is a little more personal in nature than Yoon’s, but it also shows the way we hoard objects today.

This work is on display at Toronto’s Cooper Cole Gallery until August 18.”

To see the full post please visit  the American Photography Magazine blog.

For press and sales inquires please contact the gallery.

News: Joseph Hart Artworks Available


Joseph Hart / Love Song / Mixed media on paper / 30″ x 40″ / 2012

 

COOPER COLE is pleased to announce that we have a selection of work available from New York based artist Joseph Hart.

Joseph Hart (born 1976 in New Hampshire) received his BFA from the Rhode Island School of Design. His paintings and drawings have been exhibited at Galerie Vidal Saint Phalle in Paris, and Halsey Mckay Gallery in New York. Hart has also been included in group exhibitions at the Bronx Museum of the Arts, The Elizabeth Foundation for the Arts, Santa Monica Museum of Art, Alexander & Bonin, CRG Gallery and Klaus Von Nichtssangend Gallery in New York, amongst others. Hart currently lives and works in Brooklyn, New York.  Hart will be participating in a two person exhibition at COOPER COLE in March 2013 with gallery artist Mark DeLong.

To see a full selection of available works please visit Hart’s artist profile.

For sales and press inquires please contact the gallery.

Press: Sara Cwynar featured on Fubiz

Sara Cwynar’s current exhibition was featured on Parisian design blog Fubiz.

“La photographe canadienne Sara Cwynar nous propose de découvrir ces clichés et cette série « Study of Color » réunissant des objets qu’elle a pu collecter pendant une décennie, le tout rangés par couleur. Un aspect visuel très réussi à découvrir à la Cooper Cole Gallery à Toronto, et également dans la suite de l’article.”

To see the full post please visit Fubiz.

Cwynar’s exhibition Accidental Archives continues at the gallery until August 18, 2012.

For sales and press inquires please contact the gallery.

Press: Summer exhibitions reviewed on Akimbo

Both of the summer exhibitions at the gallery received a mention on Canadian art blog Akimbo.

Writer Terence Dick has this to say about our summer group show Zagga Zow:

“Cooper Cole has an especially eye-popping display of energized work under the exclamatory rubric Zagga Zow. A lot of the work focuses on figures and faces; combine that with the electric colour palette and a psychedelic sense of humour, and you get a show that leans heavily in the direction of underground comics (yet another cross-over!). Participating artist Marc Bell is well known for his trippy panels of dense image and wordplay, while Taylor McKimens has a definite Gary Panter-thing going on. I’m not sure what to make of the mock-tribal art of Charlie Roberts and the racist-caricatures of Devin Troy Strother. Summer fun breaks down for me at this level of political incorrectness, unless I’m missing the underlying critique.”

He also comments on Sara Cwynar’s exhibition Accidental Archives:

“In the back, and not officially Zagga Zow, Sara Cwyner has the kind of maximalist, floor-to-ceiling assemblage that turns my crank. The overall feel is actually one of mourning as this (like Pascal Grandmaison’s similarly elegiac installation at Prefix ICA) is a shrine to the soon-to-be-lost era of darkroom photography. It’s funny/sad how quickly the once-familiar negatives strips and photomat bags have disappeared from our visual culture. It reminds me of how I had to explain what a film cartridge was to a class reading Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction. Times change, but photography, not simply in content but in form, is memory.”

To see the full post please visit Akimbo.

For press and sales inquires please contact the gallery.

Press: Sara Cwynar featured on iGNANT

Sara Cwynar’s current show Accidental Archives receives some press on German design blog iGnant.

“Sara Cwynar´s latest project, Accidental Archieves, is an accumulation, arrangement and documentation of images and objects, aimed to create an organized and material record of personal experience. Choosing from her own archive of saved objects, personal photographs and found images she creates densely-layered compositions, while they are simply categorized by color.

But from this most obvious trait her studies move to their own narratives, associations and feelings that yield a sense of order and meaning apart from apparent randomness. This study deals with the tropes of photography, the still life, the news photo or even the leftover photo of your ex boyfriend. Its about working through all the souvenirs, junk and forgotten memories we accumulate during our lives and thus somehow raise questions about the role of physicality in photography and how we see and understand our culture.

Cwynar is a New York-based artist, graphic designer and book-maker. Doing a lot of things very well, she works for The New York Times Magazine as a graphic designer as well as on her broad artistic practice, including photography, collage, installation, video and bookmaking.”

To see the full post please visit iGnant.

For press and sales inquires please contact the gallery.

Press: Sara Cwynar featured on Fast Company Design

Sara Cwynar’s current show was featured on Fast Company’s Design blog.

“Cwynar’s latest series, Accidental Archives, pushes her archival instinct to an almost obsessive place. Each photograph shows a carefully arranged selection of her belongings, organized by color. “The concept began as a means of working my way through this massive collection of images and objects that I am always gathering and saving,” she explains to Co.Design. “Then I arranged the collections into still lifes, starting with the color but moving on from there to contain narratives and ideas.”

In yellow, lemons and Kodak photography supplies mingle. Pink, of course, is the most gendered photograph–hair curlers, cleaning gloves, and flowers–and an ominous cellophane carton of uncooked meat. Photos are much in evidence, too. “The photos deal with the tropes of photography,” Cwynar says. “I collect examples of traditional forms of photography: the studio still life is most prominent here, then the class portrait, the news photo, the product shot, the leftover photo of your ex-boyfriend, the souvenir postcard, and many others.”

“It’s about working through all the junk and souvenirs and photos we accumulate,” adds Cwynar. “And also the collective body of photographs we see and understand in our culture.” Accidental Archives is on view now at Cooper Cole Gallery in Toronto.”

To view the full post please visit Fast Company’s Design blog.

For press and sales inquires please contact the gallery.

Press: Sara Cwynar featured on Designboom

Sara Cwynar’s current exhibition Accidental Archives was highlighted on Designboom.

“canadian photographer sara cwynar has produced a body of works consisting of personal artifacts that have been collected for over a decade, entitled ‘accidental archives’. the installation assembles a miscellany of objects and possessions arranged to represent an insight into the artist’s life and creative process. cwynar extends the concept by organizing her belongings into smaller color coded formats, creating mini dioramas that inform the photo editions.

these visual cross-sections are a contemporary take on classic still life photography, where what starts as a study of color, evolve into a variety of narratives that speak on ideas such as gender roles, consumerism, and mass consumption. the work is on show at the cooper cole gallery in toronto, canada through till the 18th of august, 2012.”

See the full post on Designboom.

Sara Cwynar’s exhibition Accidental Archives continues until August 18th.

Press: Sara Cwynar mentioned on the New York Times

Gallery artist Sara Cwynar received a review of her current exhibition Accidental Archives on the New York Times blog.

“Sara Cwynar, an artist and a designer at the Times Magazine, takes collecting to the extreme. She told me that she constantly amasses objects, both to satisfy her “hoarding impulses” and to compile a historical record. This winter, while contemplating a move from her Bushwick apartment and studio, Cwynar began to feel that her personal archive was becoming an unhealthy burden. When approached in January to do her first solo exhibition, she had an idea that would make use of her entire collection and ultimately force her to get rid of it all.”

To read the full review please visit the New York Times.

For press and sales inquires please contact the gallery.

Press: Juxtapoz Magazine covers Zagga Zow

Juxtapoz Magazine featured our current exhibition Zagga Zow on their blog.

“Cooper Cole in Toronto is hosting a great line-up in the group exhibition, Zagga Zow, now on display through August 20, 2012. Cooper Cole went into the deep trenches of the urban dictionary to find out what Zagga Zow means, and they came up with “A word with literally no definition.” In the meantime, Matt Leines, Larissa Bates, Devin Troy Strother, Marc Bell, Charlie Roberts, John Riepenhoff, James Kirkpatrick, Anders Oinonen, and Sara Clendering are all showcased.”

To see the full post please visit Juxtapoz online.

For sales inquires please contact the gallery.

Installation: Zagga Zow / 1st Annual Summer Group Show

Our first annual summer group show Zagga Zow continues at the gallery until August 18, 2012.

Participating artists include:

Devin Troy Strother
Charlie Roberts
John Riepenhoff
Anders Oinonen
Taylor McKimens
Matt Leines
James Kirkpatrick
Sara Clendening
Marc Bell
Larissa Bates

For press and sales information please inquire with the gallery.

Preview: John Riepenhoff and Sara Clendening

A John Riepenhoff sculpture supporting a canvas from Sara Clendening, 2012.

Zagga Zow
1st Annual Summer Group Show
July 12, 2012 – August 18, 2012

Opening reception Thursday July 12, 2012 / 6 – 10pm / facebook

For press and sales information please inquire with the gallery.

Press: Lauren Luloff Mentioned in the New York Times

Lauren Luloff recently received a New York Times mention in a review written by Roberta Smith.

“Lauren Luloff’s “Flame Violent and Golden,” which seems pieced together from textile remnants that are actually hand-painted on different scraps of cloth, using bleach. It has some of the scenery-chewing exuberance of Julian Schnabel, which is quite refreshing.”

Read the full article online on the New York Times.

For more information about Lauren Luloff please contact the gallery.

Upcoming: Zagga Zow

Zagga Zow / 1st Annual Summer Group Show / July 12 – August 20, 2012

Devin Troy Strother
Charlie Roberts
John Riepenhoff
Anders Oinonen
Taylor McKimens
Matt Leines
James Kirkpatrick
David Jien
Sara Clendening
Marc Bell
Larissa Bates

Opening reception / Thursday July 12, 2012 / 6 – 10pm

For press and sales information please inquire with the gallery.

News: Jen Stark Acquired by the Smithsonian

Gallery artist Jen Stark recently had a sculpture acquired by the Smithsonian American Art Museum. The new work will be on display as part of an upcoming exhibition at the Smithsonian American Art Museum’s Renwick Gallery. The show titled 40 Under 40: Craft Futures opens at the Renwick on July 20th and continues through February 2013, after which it will tour nationally at locations to be announced.

For more information about Jen Stark please contact the gallery.

News: Andrew Schoultz Mural in Toronto

Above is a time lapse video of a large scale public mural created by Andrew Schoultz while visiting Toronto for his two person exhibition Destroyer with Richard Colman.

This mural project titled “The Winds are Changing” was created by Andrew Schoultz and completed in June of 2012. The mural is located at the intersection of Howard Park Avenue and Dundas Street West in Toronto. This project was coordinated by Spectrum Art Projects, documented by Adam Vollick, and partially funded by the City of Toronto’s StART Partnership program. The video features a musical arrangement by award winning music producer Daniel Lanois.

News: Richard Colman on display at The Kunsten Museum

Richard Colman will have a major piece on display at the Kunsten Museum of Modern Art in Denmark. The exhibition features a curated selection of works from a group of Danish private collections. Other artists on display include, Georg Baselitz, Peter Doig, Olafur Eliasson, Gary Hume, Anselm Kiefer, Roy Lichtenstein, Sigmar Polke, Robert Rauschenberg, Gerhard Richter and Andy Warhol.

Richard Colman’s work will be on display in Toronto as part of a two person exhibition, Destroyer with Andrew Schoultz until June 23, 2012.

For sales information please contact the gallery.

Press: Sara Cwynar Featured on It’s Nice That

Sara Cwynar was recently featured on London, UK based design blog It’s Nice That.

“One of Print Magazine’s 20 Under 30 New Visual Artists in 2011, designer Sara Cwynar is proving herself to be mighty popular in the design and visual arts world. A young and self proclaimed graphic designer and artist, Sara’s work is the toast of many a trendy blog with her vivid colours, readily-viewable mood boards and open passion for all things magic. The combination of the dreamy things that inspire her, combined with her very impressive and professional knowledge of layout – see The New York Times Magazine, where she works – makes her a curious rarity, and definitely one to watch.”

Read the full article at the following link.

Cwynar will be presenting a new body of work this summer at the gallery in a solo exhibition titled Accidental Archives.

For more information please contact the gallery.

News: Andrew Schoultz Mural in Toronto

Here are some progress shots of Andrew Schoultz painting a large scale mural in Toronto. A time-lapse video of the entire process will be released in the coming days.

Andrew Schoultz and Richard Colman’s exhibition Destroyer opens on June 1, 2012.

For press and sales inquires please contact the gallery.

News: Jannick Deslauriers Acquired by the West Collection

Congratulations are due to gallery artist Jannick Deslauriers who was recently selected for acquisition to the West Collection.

Deslauriers was picked out of 2650 artists from over 80 countries and is the only Canadian artist selected for the collection in 2012. To see the full list of selected artists please visit the West Collection.

A public exhibition of the selected works with an accompanying catalog are scheduled for later this year.

To view more of Jannick Deslauriers’ sculptures please visit her artist profile.

For press and sales information please contact the gallery.

Press: Ryan Travis Christian & Marissa Textor on Artlog

Ryan Travis Christian and Marissa Textor’s current exhibition It Ain’t Conceptual featured on Artlog.

“Marissa Textor and Ryan Travis Christian are not only long-time friends, but also share a serious love for graphite. Hailing from Los Angeles and Chicago, respectively, the pals recently flung open the doors of Toronto’s Cooper Cole gallery to present It Ain’t Conceptual, a selection of their latest work.

Textor’s painstakingly photorealistic graphite drawings depict forces of nature at their most ruthless and unsympathetic. Her exquisite, clinically objective renderings could almost pass for monochrome photographs. She’s not interested in drawing from her imagination—real life, she says, is much more interesting. In turn, photography has always gone hand-in-hand with her sketches. The images of explosions, oddly shaped foliage, rocks, animals, and water could have been taken yesterday or fifty years ago, imbuing them with a sense of timelessness and familiarity. A few slightly more abstract works adjust, layer, and distort images, marking a departure from the rest of her oeuvre.

Christian’s work mixes ’30s cartoons with ’80s design, evoking reactions ranging from humor to disgust. Vulgar at times, poignant at others, the 29-year-old’s psychedelic sketches are full of energy, explosions, jazz hands, manic patterns, and bulging eyes, focusing on conjuring a fractured, multidimensional depiction of time and space. His works on view have hints of a vintage Disney dream world, though Christian uses characters all his own to speak to the cultural politics of that era. When he’s not drawing, Christian curates exhibitions, DJs for Chicago’s Club Nutz, stages comedy and noise shows, and writes about fellow artists.”
- Tiffany Jow

To see the full post please visit Artlog.

Ryan Travis Christian & Marissa Textor’s exhibition It Ain’t Conceptual continues until May 20, 2012.

For press and sales inquires please contact the gallery.

News: Marc Bell Artworks Available

COOPER COLE is pleased to announce the inclusion of Canadian artist Marc Bell to the gallery’s roster.

Marc Bell born 1971 in London, Ontario, is a Canadian cartoonist and artist. First known for creating comic strips (such as Shrimpy and Paul), Bell has also exhibited his mixed media work and watercolour drawings in numerous solo and group exhibition across the globe. “Hot Potatoe,” a monograph of his work, released in 2009, by Drawn & Quarterly. He has also been published in numerous anthologies, such as Kramers Ergot and The Ganzfeld and is represented by the Adam Baumgold Gallery in New York and COOPER COLE in Toronto. Bell currently lives and works in Guelph, Ontario.


Balsam Adhesives / Mixed Media / 20″ x 15″

To see a full selection of available works please visit Bell’s artist profile.

For sales and press inquires please contact the gallery.

Art Fair: COOPER COLE at Pulse New York

COOPER COLE will be presenting a body of work from Canadian artist Geoff McFetridge at PULSE New York in May.

Visit us at booth I10.

Geoff McFetridge
PULSE New York
The Metropolitan Pavilion
125 West 18th Street, Chelsea

May 3 – May 6, 2012

For press and sales information please inquire with the gallery.

Press: Ryan Travis Christian & Marissa Textor on Juxtapoz

Ryan Travis Christian and Marissa Textor’s upcoming exhibition It Ain’t Conceptual was previewed on Juxtapoz Magazine.

“Tonight, April 27, in Toronto, Cooper Cole Gallery is hosting It Ain’t Conceptual, featuring new works from Ryan Travis Christian and Marissa Textor, two up-and-coming artists that we have had on our radar for quite some time, and we quite excited to see showing together. With Christian’s vintage cartoon aesthetic, and Textor’s photoreal graphite drawings, this will be a really strong show.”

To see the full preview please visit Juxtapoz Magazine.

Press: Marissa Textor on New American Paintings

New American Paintings posted an interview with Marissa Textor previewing images from her upcoming two person exhibition with Ryan Travis Christian at COOPER COLE.

“Marissa Textor’s graphite drawings are hyperrealistic and vivid. With her pencil, Textor bends and molds shades of grey and white seamlessly, creating images so true to life that they appear to be photographic.

Her subjects vary, but she often creates images of pre- and post-destruction, conjuring an extreme sense of foreboding or impending devastation. Somehow this momentum she captures lingers with you as a viewer.”

To read the full interview please visit New American Paintings.

Ryan Travis Christian & Marissa Textor
It Ain’t Conceptual
April 27 – May 20, 2012

Opening reception: Friday April 27 / 6-10pm

For press and sales inquires please contact the gallery.

Press: Tessar Lo & Mark DeLong Reviewed By Canadian Art

Tessar Sebastian Lo and Mark DeLong’s current exhibitions at the gallery received a review from Canadian Art.

“Currently on view at Cooper Cole Gallery in Toronto is an exhibition that juxtaposes bodies of work by two Canadian artists of distinctly different practices—one more emotional and illustrative, the other more conceptual and abstract. Interestingly, both artists’ visual gestures still fit with gallery owner Simon Cole’s long-time interest in street-based art practices such as graffiti, stencil and paste-up.

The larger portion of Cooper Cole’s floor space (which is fairly large for a Dundas West location) is dedicated to “Past, Present, Past-Present,” an exhibition of new paintings by Toronto-based artist Tessar Sebastian Lo, while the smaller rear gallery hosts “No Cover,” a small collection of works by Vancouver-based artist Mark DeLong.

DeLong’s work is described on the gallery website as a blending of the abstract and the representational, though its representational qualities perhaps owe more to the quirky titles of the paintings than to what can be deciphered from the canvases themselves.

Bagels for Lunch, for example, is a recent work by the self-taught DeLong that forces me to look for these aforementioned bagels; though I do eventually allow myself to settle on a shape that could be a man eating a bagel, I wonder if DeLong is manipulating me, using the dichotomy of image and language as a tool of suggestion, the way a psychiatrist would ask someone what they see in an inkblot.

DeLong’s 2012 work Grapes boasts an equally absurd relationship with its title. While I feel certain that there are no grapes to be found in this image, I’m amused by the dry humour and confidently lazy brushstrokes that distinguish DeLong’s work; while most likely unintentional, I can’t help recalling the accusatory painting in Ad Reinhardt’s famous “What do you represent?” comic. The rich colours and suggested narratives induce a perplexing interrogation of the work, a mode that is certainly more in line with contemporary practices than the effects found in the adjoining exhibition.

I found Cole’s inclusion of Lo’s more expressive work to be somewhat cheeky given DeLong’s drier approach. Though Lo’s and DeLong’s works both speak to a mix of abstraction and representation, the similarities end there. There is no time for self-referentiality or apathy in Lo’s paintings; instead, they are urgent with understated angst.

Lo’s work, for me, cannot escape the distinct feel of outsider art—although the artist is an graduate of the illustration program at Sheridan College and has been exhibited nationally and internationally—and similarly, its ties to symbolist archetypes.

Still Life, Before, (no suggestive titles here) is a large painting that feels cumulative of all of Lo’s preferred symbols (or, as he refers to them, totems). The surface is an unusual blend of pastels and surly darknesses, depicting a bird’s-eye view of a tabletop with Cézanne-esque fruits, clocks, compasses, a knife, eggs, and what seems to be a disembodied pair of hands and a face.

This work by Lo—and all his others here, in fact—provide surreal documentation of the fleeting moments in time in which we make decisions that lead us down one path or another, whether we choose to dwell in the past, letting our relative melancholies consume us, or to become resilient en route to the present.

While my studies in art history presuppose that I should be more stimulated by the conceptual nature of DeLong’s work, I can’t help but feel drawn to Lo’s paintings, and to the emotional honesty which informs them.”

Written by Mariam Nader.

To view the full review please visit Canadian Art.

Tessar Sebastian Lo’s exhibition past, present, past-present, and Mark DeLong’s exhibition No Cover continues until April 22, 2012.

For sales and press inquires, please contact the gallery.

News: PULSE New York

COOPER COLE will be presenting a body of work from Canadian artist Geoff McFetridge at PULSE New York in May. Visit us at booth I10.

Geoff McFetridge
PULSE New York
The Metropolitan Pavilion
125 West 18th Street, Chelsea

For press and sales information please inquire with the gallery.

News: Lauren Luloff Artworks Available

COOPER COLE is pleased to announce the inclusion of New York based artist Lauren Luloff to the gallery’s roster.


Cut Landscape / Oil paint on collaged fabric / 21″ x 17″ / 2012

Luloff, born in 1980 in Dover, NH, received her MFA from Bard College in Annandale-on-Hudson, NY and a BFA from Pennsylvania State University, University Park, PA. Her work has been included in the notable exhibitions at Tanya Bonakdar, New York; the Queens Museum of Art, New York; and at the Bronx River Arts Center, New York. She was recently profiled in The New York Times T Magazine, and New York Arts Magazine listed her as one of the top 30 artists to watch in 2012. She has also been mentioned in The Village Voice, The Brooklyn Rail, Vellum Magazine, Hyperallergic, The Huffington Post, and Art in America. Luloff currently lives and works in Brooklyn, New York and is scheduled for a solo exhibition at COOPER COLE in early 2013.

To see a full selection of available works please visit Luloff’s artist profile.

For sales and press inquires please contact the gallery.

Press: Mark DeLong Reviewed on The Huffington Post


Mark DeLong’s current exhibition at the gallery received a review on The Huffington Post.

“DeLong paints abstract color-based works that are both monumental and a bit childlike. With titles like “The Beat Broke in Through the Window and Stole My Poem about the Shelf” and “Ducks Crossing Oppenheimer”, the artist invites us to look for a narrative in works that would normally be thought of as pure abstraction. With each search for a story we are navigating through DeLong’s acrylic jungle, and it can be easy to get lost. And yet, like all good artists, DeLong continues to explore the difficult relationship between abstraction and representation.”

To read the full review please visit The Huffington Post.

Mark DeLong’s exhibition No Cover continues until April 22, 2012.

To see a full list of available works from DeLong please visit his artist profile.

For sales and press inquires, please contact the gallery.

News: Tessar Lo Multiple Release

In conjunction with his upcoming exhibition at the gallery, COOPER COLE will be releasing a sculptural edition from Tessar Lo.

Titled “don’t say, dansé”, this multiple is constructed of gypsum with an acrylic and wax finish and comes in a screen printed box with a certificate of authenticity. This edition is limited to 25 with 5 artist proofs.

A select amount of this special edition are now available to purchase online.



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Tessar Lo / past, present, past-present, / March 30, 2012 – April 22, 2012

Opening reception / Friday March 30, 2012 / 6 – 10pm

For press and sales information please inquire with the gallery.

News: Tessar Lo Studio Visit

Gearing up to his forthcoming exhibition at COOPER COLE, Tessar Lo lets us in to his studio to have a preview of his new body of work. Tessar will be debuting a new series of paintings along with a sculptural edition.

For press and sales information please inquire with the gallery.

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Press: Brendan Monroe on Hi-Fructose

Brendan Monroe was recently interviewed by Hi-Fructose Magazine and speaks on his current exhibition at the gallery.

“Oakland, CA based artist Brendan Monroe continues his visual research with a new body of work. These new works were gleaned from ideas he has been experimenting with over the last year, leaning towards physics and astronomy to stimulate his influences. His current works, a combination of paintings and sculptures, are currently on view at Cooper Cole Gallery in Toronto, Ontario.”

To read the full interview please visit Hi-Fructose Magazine.

Brendan Monroe’s exhibition “Observations of Light & Matter” continues at the gallery until March 25, 2012.