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: 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

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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

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

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: 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

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

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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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.

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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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.

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.

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.

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.

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.

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.

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.

 

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.

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.

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.

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.

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.

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: 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.

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.

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.

More images below.

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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.

Press: Brendan Monroe

 
Brendan Monroe’s current exhibition at the gallery has been featured on both My Modern Met and The Huffington Post.
 

“Just yesterday, a brand new exhibition started at Cooper Cole Gallery in Toronto, Ontario called Observations of Light and MatterBrendan Monroe tells a story of a world filled with unique personalities and imaginary organisms. His dream-like scenes show human figures on a quest to find out more about the world they inhabit.”

See the full post on My Modern Met.

 

“The flowing forms and ambiguous movement of Monroe’s work has the capacity to satisfy the most aloof daydreamer and the hard-nosed computer scientist in one swoop — both become lost between wormholes and immersed in network data. No matter your approach, “Observations of Light and Matter” is sure to leave a lasting impression.”

See the full article on The Huffington Post.

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

Press: Brendan Monroe Previewed on Juxtapoz

Brendan Monroe’s upcoming exhibition “Observations of Light & Matter” was previewed on Juxtapoz Magazine.

“On March 2nd in Toronto, Cooper Cole will be presenting a solo exhibition by Brendan Monroe, Observations of Light & Matter. Monroe, in his first solo exhibition in Toronto, will be presenting a series of paintings and sculptures that explores his scientific and imaginary organisms that have appeared in his work over the past few years, often inspired by science and often times directly derived from past scientific observations.”

To see the full preview please visit Juxtapoz Magazine.

Press: Ryan Travis Christian Review In Frieze Magazine

Ryan Travis Christian received a review for his most recent exhibition in issue 145 of Frieze Magazine.

“Death is not death in children’s cartoons – characters bounce back to life no matter how absurd the violence. This warping of mortality informs Ryan Travis Christian’s art works. His chiaroscuro graphite drawings recall the black and white Disney cartoons of the 1920s. The ‘River Rats’ series (2011) stylistically puns on the happy rodent Mickey Mouse, whose human aspirations Christian drowns in the gutter. A new cast of villains emerges, too: the blobby type with vacant eyes that multiplies at will, high on hijinks and frightful in their conformity. In nodding to early Disney animation, Christian fills in his characters with the cultural politics of that era. The hugely influential Disney animator Ub Iwerks emigrated from Germany to the US and gave life to Mickey. Iwerks was responsible for defining the Disney style and developed it simultaneous to German Expressionism. His Skeleton Dance of 1929 redefined the age-old dance-of-death genre for children, and Christian borrows freely from the campy horror of Iwerks’ cult classic, where a graveyard is a playground for death to rattle out its funeral song. Here, humour is horror in disguise.”

To read the full review please visit Frieze Magazine.

Ryan will be exhibiting in a two person show with Marissa Textor this coming May.

For press and sales information please inquire with the gallery.

Press: Andrew Schoultz & Jen Stark in Juxtapoz

 

The March 2012 issue of Juxtapoz Magazine features two exhibiting artists at COOPER COLE. Andrew Schoultz is featured on the cover and has a full spread in the issue. Schoultz will be exhibiting alongside Richard Colman this coming June at COOPER COLE. Gallery artist Jen Stark also has a spread in the issue showcasing work from recent exhibitions. For press and sales information please inquire with the gallery.

Press: Richard Colman Studio Visit on Hi-Fructose

Hi Fructose Magazine recently posted a studio visit with artist Richard Colman showcasing an upcoming mural commission for the Gagosian Gallery in Beverly Hills.

Colman will be exhibiting alongside Andrew Schoultz at COOPER COLE this coming June.

For press and sales information please inquire with the gallery.

To view more photos please visit Hi-Fructose.

Press: Anders Oinonen on Beautiful Decay

 

Anders Oinonen was recently featured on the blog Beautiful Decay. Below is an excerpt from the post.

Anders Oinonen, of Ontario, Canada, just opened “People people”, a solo show at Cooper Cole in Toronto. For a while now, Oinonen has been pushing the features of the face to new bounds in his paintings. The artist has removed familiar eyes, noses, and mouths from their intended plane, and inserted them along the lines of an Expressionist landscape. Such a presentation of the face -associated with communication of our inner life more than any other part of the body- in tumultuous states of despair and incredulity as stimulating blocks of color masterfully applied to canvas arranges a statement which is hard to miss and extensive in depth.

To view the full post please visit Beautiful Decay.

Press: Ryan Wallace & Chris Duncan on The Huffington Post

 

Ryan Wallace & Chris Duncan‘s exhibition Transmission Lines received some nice words on The Huffington Post.

“Ryan Wallace, hailing from New York, muses on roughly the same geometric form through various mediums and color capturing vastly different emotions, despite the seemingly minute differences between each piece. Over time the converging points in Wallace’s work cease to bec a reference point for the viewer, plunging the mind into a graceful drone. The texture of Wallace’s “Polemic” series are reminiscent of marble with minor speckled anomalies that make you search for answers.”

“Chris Duncan’s work zeroes in on an airy, ephemeral quality, approaching the notion of ‘undefined’ in a different manner. Duncan is less ambiguous with his materials, which are quite often crayon. However, in completely lacking any points of reference or geography, Duncan the same bewildering effect as his fellow exhibitor. Representing Oakland, CA, the lines of Duncan’s work are difficult to track, like staring into the bright California sun in an attempt to make out its shape. It is hard to tell whether the tonal lines are revolving around the circular mass depicted or if they are consuming it.”

Above is an excerpt from the review. To view the full article please visit The Huffington Post.

Transmission Lines runs until February 26, 2012.

Press: Anders Oinonen reviewed on Art Sync

Art Sync reviewed Anders Oinonens’ exhibition People People which recently opened at the gallery.

“While he dabbles in both more representational and more abstract artistic styles, Anders Oinonen’s most compelling paintings are his pseudo-portraits, in which basic elements of the face are assembled with wide brush-strokes and vivid colours. In People People, his current solo exhibition at Cooper Cole Gallery, faces are alternately combined and fragmented, all the while remaining instantly recognizable.

Oinonen clearly has a reverence for this often irrational aspect of human instinct, as his cheerful, child-like faces reflect Sagan’s “goony grin” right back at us. Indeed, his “Untitled” is practically the visual manifestation of Sagan’s idea: the child immediately locating a friendly face in the landscape. By choosing to approach the portrait in this manner, Oinonen still allows the viewer his sense of personal connection to the piece while also opening up entirely new possibilities for analysis.

So let’s dive into it: A tension apparent in People People is in defining the tenuous border between painting and subject. With his thick brushwork and garish colour choices, his pieces scream their identity as paintings rather than playing at representing reality. Ultimately, Oinonen appeals to the viewer’s natural tendency to search a painting for inherent “humanity,” no matter how loosely it represents this idea. In paintings such as “Lockung,” Danish painter Asger Jorn (Oinonen’s precursor and admitted idol) employs a similar technique, but with a critical difference: where in Jorn the simplistic face is layered over the landscape, Oinonen fuses the two. In doing so, he has relocated the human element to the very center of the painting, with the piece’s meaning constructed through the viewer’s recognition, rather than by the imposition of the artist. Oinonen’s portraits are thus highly interactive, inviting us to empathize with their subjects, all the while gently mocking our desire to do so.”

Above is an excerpt from the review, to view the full article please follow this link.

Preview: Chris Duncan

Above is a shot of Chris Duncan‘s piece titled World Wide Web that is featured in the exhibition Transmission Lines which opens this week at the gallery. Duncan will be showing alongside fellow American artist Ryan Wallace.

Please join us for the opening reception on Friday February 3, 2012 / 6 – 10pm.

More details can be found on the facebook event page.

Installation: Maya Hayuk in OZ for the Sugar Mountain Festival

Maya Hayuk is currently working on a collaborative installation with artist Kyle Ranson at the Sugar Mountain Festival in Australia. Maya and Kyle will be working together to create an epic piece transforming the entrance of the festival.

Australian design and culture magazine Desktop recently conducted an interview with Maya Hayuk leading up to the festival.

Recap: SCOPE 2011

COOPER COLE recently exhibited in the 2011 SCOPE Miami Art Fair presenting a survey of works from gallery exhibited artists.  

Participating artists included Cleon Peterson, Jen Stark, Jesse Harris, Maya Hayuk, Ryan Wallace, and Steve Powers.

The gallery received a favorable response at the fair with work being acquired by public institutions and private collectors from across the globe.

The works from the fair are now available to view online.

Please contact the gallery for availability or additional information.


Ryan Wallace / Polemic 11, 18, 15 / In Situ.

Preview: Todd James


Todd James / Vanity Nemesis / Gouache and graphite on paper / 30″ x 22.5″ / 2011


Todd James / What Do You Get The Man Who Has Everything / Gouache and graphite on paper / 22″ x 15″ / 2011


Todd James / Buckle My Shoe / Gouache and graphite on paper / 22″ x 15″ / 2011

 

Brothers of the Weird / Curated by Todd James / November 25, 2011 – January 22, 2012
Todd James / Devin Flynn / Ian Flynn / Billy Grant / Joe Grillo

Opening reception Friday November 25, 2011 / 6 – 10pm

For press and sales information please inquire with the gallery.