ektor garcia featured on Contemporary Art Daily

April 21, 2019

ektor garcia’s solo exhibition sangre y barro is featured on Contemporary Art Daily.

Press Release:

COOPER COLE is pleased to present a solo exhibition by ektor garcia. This marks the artist’s first solo exhibition with the gallery.

sangre y barro
dolor y amor
suave y duro
dulce y sabor a metal
puro y sucio
inocente y malvado
moribundo y viviendo
feo y bello

blood and clay
pain and love
soft and hard
sweet and taste of metal
pure and filthy
innocent and wicked
dying and living
ugly and beautiful

ektor garcia’s art is grounded in the body, in touch and tactility. Every element of sangre y barro is made, crafted, formed, manipulated, and arranged by the artist’s hands. Hand shaped and glazed terra cotta, stoneware, and porcelain. Intertwined ceramic rope and chain. Hand made copper wire lace, crocheted ropes, twined threads. Hand sewn leather hides. Imprints, mark making, fingerprints, gestures: the trace of the artist’s hands are everywhere. Every material, every found object — bike tires, goat horns, horse shoes, rusted horse bits, chains, cords, doilies, decorative domestic textiles — holds the tactile memory of garcia’s hands. They call out to us to be touched in return, tempting us, even daring us — to touch. But we can’t touch them back. The gallery is at once a space of sensory overload, and sensory deprivation. So how can we make up for the inability to touch?

The work demands that we engage beyond looking, that we engage our other senses, like smell, and that we activate our more visceral sensibilities, like desire, fear, sadness, anger, disgust. The work also insists that we rely on different modes of perception altogether, like our subjectivities, identities, lived experiences, memories, fantasies. On empathy, compassion, longing, vulnerability, interpersonal connection. The work implores us feel, to sense the works’ less immediately perceptible traces:

Hands crocheting doilies placing them under plastic protecting covering the couch next to a cabinet with a wedding dress with a photo of a quinceañera perched on top next to a cowboy hat in front of a side-table with plastic flowers and family photographs
Hands picking strawberries in the blaring sun in the endless sprawling growing fields in California Hands on rusted metal in abuelo’s rancho garage
Bleeding hands
An American passport passed back and forth between traveler and border agent Hands wrapped around bicycle handlebars.
Hands on lovers’ bodies.

Queer Mexican American hands. Not to be confused or conflated with “the hand” of Western art history, a hand that is Euro-American and masculine and cis-male. garcia travels regularly, across all five continents, always collecting and working on things as an integral part of his practice. His queer brown hands mark the trajectories of objects and materials sourced and collected in places like his grandparents’ land in Tabasco in the state of Zacatecas, Mexico; on bike rides across New York City where he currently lives and works; and in Toronto on days spent installing the works. His queer brown hands carried these works across national borders between Mexico, the United States, and Canada — countries bound together by militarized border systems, neoliberal trade agreements, and settler colonial and colonizing regimes.

And so the works are imbued with cultural, geographical and sexual histories, histories of violence and resistance, subversion and survival, family and community. They embody personal, familial, territorial, and cross-cultural histories of struggle and resistance. And they are invested with garcia’s experiences growing up between borders, classes, identities, cultures, and languages.

Other significant influences also include radical queerness, anarcho-punk sensibilities and community, and Mexican and Chicanx domestic aesthetics. While often described in terms of craft and the domestic, garcia’s works challenge dominant art historical understandings of both. The artist draws on thousands of years’ worth of local, indigenous, campesino, Mexican craft — on hand skills, materials, processes and expertise that persist despite Euro-American attempts at erasure, appropriation, exploitation, and monetization — on modes of hand production deployed long before white male historians “invented” definitions of what we now call “craft”.

The artist’s embrace of specifically Mexican, Chicanx, and queer domesticities also refutes art historical notions of “the domestic”, an exclusionary and largely unattainable, white, heteronormative space of classed and raced privilege. Instead garcia valorizes specifically brown, decidedly queer and migrant strategies like mess and domesticana (the crafting of Chicanx working class domestic space), characterized by abundance, accumulation, reuse, impermanence, and site specificity — strategies of necessity and survival, movement and migration(1).

garcia is intrigued by the idea of craft as the possibility of crafting or creating a new world, new futures that extend beyond the reach of dominant systems like capitalism, neoliberalism, and imperialism, and homonormative queer politics like gay marriage. The need to create new futures resonates in the work of the Cuban American queer theorist José Esteban Muñoz, who notes that the present is not enough, and that queerness is a horizon or possibility through which we can reclaim freedom and remake oppressive systems. Writing about transgender identity and community, scholar and curator Jeanne Vaccaro observes that creating community is a type of handmade: it is collective, made with and across bodies, objects, and forces of power. Creating and sustaining community is very much a type of craft: it requires skill, dialogue, risk taking, compromise, patience, compassion, and generosity — much like working with craft materials like textiles, clay, metal, and wood.

There are also parallels between garcia’s strategies of assemblage and installation — bringing discreet objects together to create new spatial, formal, and aesthetic relations — and the creation of community. Each and every discreet object or material in sangre y barro depends on a constellation of other objects and materials. Each can stand alone, but is much more powerful within larger systems of mutual solidarity and support. These works are a metaphor for coming together, for garcia’s community of radical queers, punks, anarchists, anti-capitalists, and artists.

Violent systems of social, political, and economic oppression seek to destroy collectivity, cooperation, and community. And so garcia’s work reminds us that we need community to break the forms of isolation and subjugation unleashed by colonialism, capitalism, xenophobia, and white supremacy. We need community to help us craft a different reality, a more sustainable present and a more promising future.

— Lisa Vinebaum

Lisa Vinebaum is a scholar, artist and educator

(1) On domesticana, see Mesa-Bains; on mess, see Manalansan.

ektor garcia (b. 1985, Red Bluff, California, USA) received his BFA from the School of the Art Institute of Chicago in 2014, and his MFA from Columbia University, New York in 2016. Solo exhibitions include Mary Mary, Glasgow, Scotland; Museum Folkwang, Essen, Germany; kurimanzutto, Salon ACME, Mexico City, Mexico. Group exhibitions include LAXART, Los Angeles; New Museum, Salon 94, Sargent’s Daughters, New York; Chicken Coop Contemporary, Portland, USA; Museo de Arte de Zapopan, Guadalajara, Mexico; ACCA, Melbourne, Australia. garcia lives and works in between Mexico City, New York, and wherever he loses himself.

 

To view the full article please visit Contemporary Art Daily.

For more information about ektor garcia please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

 

Sobey Art Award Long-list featured on NewsWire

April 18, 2019

Exhibited artists Curtis Santiago, Laurie Kang, and Gabrielle L’Hirondelle Hill among the 25 artists shortlisted for the 2019 Sobey Art Award.  Featured on NewsWire. 

OTTAWAApril 16, 2019 /CNW/ – The Sobey Art Foundation and the National Gallery of Canada announced today the longlist of nominees for the 2019 Sobey Art Award, Canada’s preeminent contemporary art award. The 25 most promising young Canadian visual artists, nominated by leaders in arts communities from coast to coast to coast, have been selected to contend for the $100,000 CAD grand prize.

Established in 2002, the Sobey Art Award represents unprecedented opportunities for today’s Canadian artists, while raising the visibility of Canadian contemporary art here and abroad. The top prize of $100,000 CAD is awarded to the winner, $25,000 CAD is given to each of the four shortlisted artists, and $2,000 CAD is presented to each of the twenty longlisted artists.

In addition to monetary awards, three among the 25 artists will be selected by the Sobey Art Award jury to participate in the Sobey Art Award Residencies Program (SAARP), an international residency program ranging from three to six months.  Finally, one shortlisted artist will be selected by Fogo Island Arts to attend an annual residency.

Rob Sobey, Chair of the Sobey Art Foundation, notes: “I am thrilled by the caliber of the artists selected by the jury for this year’s longlist. The diversity of backgrounds gets more exciting every year. We are delighted to see several never-before nominated artists and are excited to learn who from Canada will participate this year in the SAARP in BerlinLondon and New York.  We are grateful that their work will help Canadians, as well as people around the world, to become better aware of the richness and vibrancy of contemporary Canadian art.”

The 2019 jury panel has selected the following 25 artists:

ATLANTIC 
Philippa Jones
Eleanor King
Logan MacDonald
Ericka Walker
D’Arcy Wilson

QUÉBEC
Marie-Michelle Deschamps
Nicolas Grenier
Caroline Monnet
Celia Perrin Sidarous
Sabrina Ratté

ONTARIO
Stephanie Comilang
Patrick Cruz
Brendan Fernandes
Laurie Kang
Erdem Taşdelen

PRAIRIES & NORTH
Alana Bartol
Catherine Blackburn
Kablusiak
Curtis Talwst Santiago
The Ephemerals

WEST COAST & YUKON
Andrew Dadson
Rochelle Goldberg
Gabrielle L’Hirondelle Hill
Anne Low
Carmen Papalia

The artists gain valuable exposure to leading art professionals in Canada and abroad, as their portfolios are reviewed and judged by the jury, chaired by National Gallery of Canada’s Senior Curator of Contemporary Art, Josée Drouin-Brisebois. The 2019 jury is composed of  Peter Dykhuis, Director/Curator, Dalhousie Art Gallery, for the Atlantic Provinces; Jo-Ann Kane, Curator, National Bank Collection, for the Quebec region; Swapnaa Tamhane, Independent Curator, Artist, and Writer, for the Ontario region; Lindsey Sharman, Curator, Art Gallery of Alberta, for the Prairies and the North region; Nigel Prince, Executive Director, Contemporary Art Gallery, for the West Coast and Yukon; and international juror, Henriette Bretton-Meyer, Curator, Kunsthal Charlottenborg, Copenhagen, Denmark.

“I am so proud of the 2019 Sobey Art Award jury for its work on a compelling and provocative longlist of Canadian artists,” said Drouin-Brisebois. “This year’s list is certain to stimulate curiosity and debate. Through its international residency program, exhibition of the finalists, and its cash prizes, the SAA has an invigorating impact on the artists recognized by the jury for their innovation and creativity. The National Gallery is looking forward to partnering with the Art Gallery of Alberta to bring an inspiring exhibition for our first time to this part of the country.”

The five shortlisted artists will be announced June 12 and the international residencies recipients will be revealed on September 18. The Sobey Art Award finalists’ exhibition will be on view from October 5, 2019 to January 5, 2020 at the Art Gallery of Alberta in Edmonton. The grand prize winner of the 2019 Sobey Art Award will be announced at a gala hosted by the Art Gallery of Alberta on November 15, 2019. The Fogo Island Arts residency winner will be announced in the weeks following the gala.

 

To view the full article please visit NewsWire.

For more information about Curtis Santiago, Laurie Kang, and Gabrielle L’Hirondelle Hill please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Brie Ruais featured on ARTnews

April 11, 2019

Dallas Art Museum Adds Eight Works to Collection with Dallas Art Fair Acquisition Fund including Brie Ruais

As part of a $150,000 acquisition program coinciding with this week’s Dallas Art Fair, the Dallas Art Museum added eight artworks to its collection by artists showing at the fair. The selected works are by Sheila Hicks, Don Dudley, Arcmanoro Niles, Samuel Levi Jones, Nobutaka Aozaki, Emmanuel Van der Auwera, Maja Ruznic, and Dike Blair.

Dallas Museum director Agustín Arteaga said in a release, “We are delighted to continue our long-standing partnership with the Dallas Art Fair, whose generous fund has allowed the DMA to support promising, dynamic contemporary artists at the forefront of the field.”

The Dallas Art Fair Foundation Acquisition Program has provided the museum with $450,000 in funds over the past four years. Last year, works by Sanford Biggers, Brie Ruais, Tony Lewis, and Geraldo de Barros were added to the DMA’s collection.

To view the full article please visit Artnews.

For more information about Brie Ruais please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

ektor garcia featured on Blouinartinfo

April 10, 2019

ektor garcia’s solo exhibition sangre y barro featured on Blouinartinfo.

Cooper Cole Gallery is currently presenting a solo exhibition by Ektor Garcia, “sangre y barro,” on view through May 4, 2019.

The exhibition presents a collection of the artist’s latest works.

“Ektor Garcia’s art is grounded in the body, in touch, and tactility. Every element of ‘sangre y barro’ is made, crafted, formed, manipulated, and arranged by the artist’s hands. Hand-shaped and glazed terra cotta, stoneware, and porcelain. Intertwined ceramic rope and chain. Hand-made copper wire lace, crocheted ropes, twined threads. Hand-sewn leather hides. Imprints, mark making, fingerprints, gestures. The trace of the artist’s hands are everywhere. Every material, every found object — bike tires, goat horns, horse shoes, rusted horse bits, chains, cords, doilies, decorative domestic textiles — holds the tactile memory of Garcia’s hands. They call out to us to be touched in return, tempting us, even daring us — to touch. But we can’t touch them back. The gallery is at once a space of sensory overload, and sensory deprivation… The works are imbued with cultural, geographical and sexual histories, histories of violence and resistance, subversion and survival, family and community. They embody personal, familial, territorial, and cross-cultural histories of struggle and resistance. And they are invested with Garcia’s experiences growing up between borders, classes, identities, cultures, and languages,” as per Lisa Vinebaum.

Garcia received his BFA from the School of the Art Institute of Chicago in 2014, and his MFA from Columbia University, New York in 2016. Solo exhibitions include Mary Mary, Glasgow, Scotland; Museum Folkwang, Essen, Germany; kurimanzutto, Salon ACME, Mexico City, Mexico. Group exhibitions include LAXART, Los Angeles; New Museum, Salon 94, Sargent’s Daughters, New York; Chicken Coop Contemporary, Portland, USA; Museo de Arte de Zapopan, Guadalajara, Mexico; ACCA, Melbourne, Australia. Garcia lives and works between Mexico City, New York, and other cities.

Since it’s conception Cooper Cole has always had a focus on existing as part of the global art dialog. The gallery not only focuses on inviting international artists to exhibit in Toronto but also aims at promoting Canadian artists abroad through art fairs and partnerships with other galleries across the globe.

The exhibition will be on view through May 4, 2019, at Cooper Cole, 1134 Dupont St, Toronto, ON M6H 2A2, Canada.

To view the full article please visit Blouinartinfo.

For more information about ektor garcia please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

ART AFTER STONEWALL: 1969-1989 On view April 24 – July 21, 2019

April 10, 2019
Tags: News

Art After Stonewall: 1969 – 1989

On view April 24 – July 21, 2019

Leslie-Lohman Museum of Gay and Lesbian Art

Curated by Jonathan Weinberg, Tyler Cann, and Drew Sawyer

Leslie-Lohman Museum of Gay and Lesbian Art

ART AFTER STONEWALL:1969-1989, timed with the 50th anniversary of the Stonewall Uprising, is the first major exhibition to examine the impact of the LGBTQ civil-rights movement on the art world. Much has been written on the impact of the LGBTQ movement on American society and yet almost 50 years after Stonewall, key artists and their works of art are little known. This exhibition, which includes over 150 works of art and related materials, focuses on the work of openly LGBTQ artists like Vaginal Davis, Michela Griffo, Lyle Ashton Harris, David Hockney, Greer Lankton, Robert Mapplethorpe, Catherine Opie, and Andy Warhol, and considers as well the practices of such artists as Vito Acconci, Diane Arbus, Judy Chicago, and Barkley Hendricks in terms of their engagement with a newly emerging queer subculture.

Key themes surveyed through ART AFTER STONEWALL include Coming Out, Sexual Outlaws, The Uses of the Erotic, Gender and Body, Things are Queer, AIDS and Activism, and We’re Here and this expansive exhibition will be on view at both the Leslie-Lohman Museum and at NYU Grey Art Gallery. Organized by the Columbus Museum of Art, it was curated by Jonathan Weinberg, with Tyler Cann, and Drew Sawyer.

 

Location

Leslie-Lohman Museum of Gay and Lesbian Art

26 Wooster Street

New York, NY 10013

United States

 

To purchase a ticket to the VIP exhibition preview please visit eventbrite.

Image Credit: Art After Midnight, (New York), 1985. Photo: Tseng Kwong Chi. © Muna Tseng Dance Projects, Inc.

Kara Hamilton Featured in Artforum

April 10, 2019

Kara Hamilton’s solo exhibition at the Art Gallery of Ontario is featured in Artforum.

Kara Hamilton’s “Water in Two Colours” consists of three biomorphic sculptures, a delicate human-size crown, and a takeaway text by writer Raimundas Malašauskas, each of which explores what the artist calls “jewellery for architecture.” Hamilton draws on her training in both architecture and design to pose questions about value and its representation; her works are made of brass, aluminum, silver, gold, fool’s gold, diamonds, pearl, and concrete. The large-scale pieces are fleshly: Two brass elevator doors are reconfigured into forms reminiscent of cetacean tongues in states of repose (Purple Dialect Surge and Mother Tongue [Whale], both 2018). Their bent and crinkled metal shows signs of having been heated and reworked by human hands using traditional silversmithing techniques. Across the gallery, in Slippery Progress, Low Tide, 2018, a silver-plated tuba bell emits a milky LED glow. Another sculpture pivots toward the idea of cultural value—the room’s diffuse illumination can be traced to a glass case that contains Crown for Ina after Beyoncé, 2008, a headpiece featuring gold chains, name plates, and phrases like “I want I want I want,” “I love Jesus,” and “I love beer.”

Together, Hamilton’s works frame value as a conspicuous yet ineluctable property. Lustrous metals surely cannot be so precious when they are large and mottled; nevertheless, these works retain a sibylline mystery, containing light, implying sound, and evoking baroque-cum-pop nobility. The artist’s unconventional sourcing methods—of working with pre-smelter gold-picking assembly lines and acquiring brass instruments discarded by Ontario school boards—only enhance the enigmatic qualities of the resulting objects. In creating “jewellery for architecture,” then, Hamilton shows us an ornamentation for the spirits.

To view the full article please visit Artforum.

For more information about Kara Hamilton please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Brie Ruais Featured on Hyperallergic

April 7, 2019

Brie Ruais’ recent group exhibition Intimate Immensity at the Pennsylvania Academy of the Fine Arts, Hamilton Building featured on Hyperallergic.

PHILADELPHIA — Intimate Immensity, a group exhibition at the Pennsylvania Academy of the Fine Arts, takes it cue from Gaston Bachelard’s essay of the same name. In the essay, Bachelard suggests that daydreams permit the contemplation of infinity, and that art becomes the “by-product” of these meditations.

The works in this show emphasize touch, materiality, the sensual, and the subversive. For Alexis Granwell, who curated the show, these meditations are part of a feminist lineage. In the catalogue essay, Bea Huff Hunter calls Bachelard’s focus on only male poets “blindspots.” This exhibition, she suggests, offers another version of “internal immensity,” and she sees the nature of this tradition as “collective” and “restorative.”

Louise Bourgeois’s “The Angry Cat” (1999) is one of two touchstones from established women artists in the show. Bourgeois’s drawing depicts a stern-faced cat that simultaneously coaxes the viewer into an imaginative space and sharpens one’s attention: anyone who has ever spent time around a cat knows this look should not be taken lightly.

The other artist is Judy Chicago. Chicago’s “Untitled (test plate) from the Dinner Party” (1976), a vulvic image in china paint on porcelain, appears courtesy of the Linda Lee Alter Collection of Art by Women. The Dinner Party (1974–1979), on permanent exhibit at the Brooklyn Museum, consists of 39 place settings for mythical and historical women. The test plate included in Intimate Immensity is for Georgia O’Keeffe, an indirect inclusion of another feminist touchstone.

Brie Ruais’s work emphasizes the corporeality of the body while highlighting the value and presence of human labor. Ruais begins most of her pieces with a mass of clay equivalent to her body weight, and then uses her body to shape the clay into large ceramic sculptures. Her two works in the exhibition, “Spreading and Tearing Away from Center” (2018) and “Double Unzipped” (2015), both large-scale, came in several separate pieces and each required eight hours of installation time. Both pieces bear the deep marks of the artist’s arms, hands, and shoes. In this sense, they operate like archeological evidence from time past.

Of the 11 artists in the show, Ghanaian artist El Anatsui is the only male. His “Untitled” (2012), like Ruais’s work, feels archeological. But for El Anatsui the marks are not parts of the body. This piece, on semi-transparent Kozo paper, seems instead to reference the impermanence of language systems and pattern-making. El Anatsui’s inclusion in a show of mostly women is not a token gesture, but rather underscores the fact that a feminist lineage of artists does not have to be limited to women.

Granwell, who began as painter, has several of her own sculptures in the show, mostly grouped together. Bespeaking her background as a painter, each work is composed of handmade paper painted with abstract patterns, cut, and wrapped around papier-mâché constructions she’s made. The finished works visually and sensually engage with their textures: the gleam of sea shells and the errant marks on a painter’s drop cloth. Installed on individualized pedestals, “Invisible Eye” (2017) seems to float above a piece of rectangular pressboard, with a large part of its middle cut in a circular shape. The upper right corner is missing, suggesting that the work cannot be held within the frame.

Not surprisingly, notions of self and reflection are strong threads in the show; questions around artistic lineage, by their very nature, position the self to be examined. But these notions are also brought to light by the artist’s materials. Michelle Segre’s “Untitled” (2019) resembles the outline of a face made of yarn. In the eye’s socket is a piece of bread cast in ceramic that looks more like a sponge. But the dangling mirror, which Segre uses again in “That’s all Folks” (2016), truly underscores reflection as a subtle theme. The mirrors in these two works, one at either end of the gallery, are small and yet they catch more than the light. They reflect many of the other artworks and, most significantly, they reflect the viewer’s actions within the gallery.

Intimate Immensity’s strength derives from its quiet concentration, which feels to me like resistance built for the long haul. It also strikes me as particular to the ideas and attitudes that seem only to develop inside the nurturing world of artist-run spaces. PAFA provided this space to Granwell — who has most often worked in artist-run spaces, in particular Tiger Strikes Asteroid — not as a means to co-opt alternative methods, but because it’s leaders seems to understand the supporting role it can play in the development of artists and curators.

Other major institutions in Philadelphia — the Philadelphia Museum of Art, the Barnes Foundation, and the Institute for Contemporary Art — should rise to this challenge. To meet this call would be to focus on the collective and the restorative, which as Bea Huff Hunter writes, is at the heart of Intimate Immensity.

Intimate Immensity, curated by Alexis Granwell, continues at the Pennsylvania Academy of the Fine Arts (118-128 North Broad Street, Philadelphia, Pennsylvania) through April 7.

To view the full article please visit Hyperallergic.

For more information about Brie Ruais please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Rachel Eulena Williams featured in ARTnews

April 2, 2019

Rachel Eulena William’s participation in the NADA House exhibition on Governer’s Island featured in ARTnews.

For the second year in a row, the New Art Dealers Alliance will stage a show on New York’s Governors Island, the roughly 170-acre sylvan landscape that was long home to a variety of military projects. Titled “NADA House,” the exhibition will span 34 rooms in three houses on the island’s historic Colonels Row, including House 403, where it staged its first show on Governors Island, “Close Quarters,” last year.

“NADA House” will showcase work by 45 artists from NADA member galleries and nonprofits, with a preview scheduled for May 2 and a public opening on May 4. Those festivities coincide with Frieze New York, which will once again take place a few miles up the water in a tent on Randalls Island.

The exhibition will be free, and on view Fridays, Saturdays, and Sundays through August 4. Many works in “NADA House” will address the colonial and military histories of Governors Island, as well as possible futures for the area. In addition to the presentations within the the houses, a selection of sculptures and installations will be situated in surrounding outdoor spaces.

“We had such a good experience with the project we did there last summer, and we’re excited to be back for a longer run,” NADA’s executive director, Heather Hubbs, told ARTnews. “In the process of staging the project last year, we just learned so much about the island and its history. I thought that it could be something that artists would want to respond to.”

Among the works that will appear in the show are assemblages and sculptures from Sara Rahbar’s 2010–11 “War” series, which incorporate military materials and iconography, new paintings by Bailey Scieszka, and reimagined portraits of First Ladies of the United States by Yanique Norman. Monthly performances will also be on offer.

Hubbs said that NADA plans to stage exhibitions on Governors Island in the future, and that it will likely put on another “New York Gallery Open,” which debuted last month during Armory Week, at the same time next year. It introduced the initiative after scuttling its annual New York fair, which ran from 2012 to 2018.

NADA isn’t ruling out the possibility of staging a fair in New York again, Hubbs said, while noting that space for such large-scale events is becoming increasingly limited and prohibitively expensive to rent. “It would really depend on the situation and the venue and what our goals are,” she said.

For now, Hubbs said, NADA will “continue to try to find alternative ways of doing things and realizing projects for our members that can adapt to what’s happening and roll with the punches until things shake out one way or another. We’re constantly thinking about different ways to have exhibitions.”

The full list of participants in “NADA House” follows below.

Susan Bee, Ada Potter, Susan Stainman, Erica Stoller, Jane Swavely (A.I.R. Gallery)
Tyler Healy (AA|LA Gallery)
Joy Feasley, Paul Swenbeck (Adams and Ollman)
Kristin Walsh (Helena Anrather)
Yanique Norman (Atlanta Contemporary)
Quay Quinn Wolf (Jack Barrett)
Fernanda Fragateiro & Shahrzad Kamel (Josée Bienvenu Gallery)
James Hoff (Callicoon Fine Arts)
Sara Rahbar (Carbon 12)
Rachel Eulena Williams (Cooper Cole)
Tony Pedemonte (Creative Growth Art Center)
Sarah Zapata (Deli Gallery)
Julien Creuzet (Document)
Ayana Evans (EFA Robert Blackburn Printmaking Workshop)
R.M. Fischer, fierce pussy (Essex Flowers)
Billy Jacobs (False Flag)
Zach Martin (Fisher Parrish Gallery)
Laurie Kang (Franz Kaka)
Navine G. Khan-Dossos (Fridman Gallery)
Katy Fischer (Geary)
Amadeus Certa (Golestani)
Denise Kupferschmidt (Halsey McKay Gallery)
Emma Kohlmann (Jack Hanley Gallery)
Erick Medel, Baseera Khan (Housing)
Rachel Higgins (Kristen Lorello)
Ethan Greenbaum (Lyles & King)
RJ Supa (Marinaro)
Jory Rabinovitz (Martos Gallery)
Megan Brady (Mrs.)
Paul Gabrielli (New Discretions)
Karen Kraven (Parisian Laundry)
Erik Frydenborg (The Pit)
Christopher Aque (Regards)
Joseph Hart (Romer Young Gallery)
Sophie Stone (Safe Gallery)
Anya Kielar (Rachel Uffner Gallery)
Bailey Scieszka (What Pipeline)

To view the full article please visit ARTnews.

For more information about Rachel Eulena Williams please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Brie Ruais Featured on Artblog

March 27, 2019

Brie Ruais’ group exhibition, Intimate Intensity at Pennsylvania Academy of the Fine Arts, Hamilton Building featured on Artblog.

 

Artistic practice today often includes, in addition to teaching (especially if an adjunct), curating, exhibition design and installation, and writing as well. Alexis Granwell, an established artist who teaches at the Pennsylvania Academy of the Fine Arts and is a member of the artist-run collective Tiger Strikes Asteroid, fits within that category. Last summer she was asked to curate an exhibition for the second floor of the Hamilton Building at PAFA, and the brief was wide-open; she could choose to show her own work, that of students, alumni, or even those from the collection. Granwell made use of the opportunity to “mine” the collection and to combine it with her own sculptures and those of artists who she admires and follows. The result is Intimate Intensity, an exhibition that concentrates on materiality. For Granwell, this includes such characteristics as the sensual, touch, and the subversive.

She asked the critic and arts writer Bea Huff Hunter to write an accompanying essay, which is itself a creative document that eloquently explores the ideas and works in the exhibition. It is an unexpected text for a museum exhibition and fits well with the ethos of the works on display. Even though it was a lot to take on at the same time as teaching, Granwell finds that curating adds another dimension to her studio practice. For her, this was a positive and invigorating experience and one she hopes to repeat in the future; normally curating for TSA, Intimate Intensity was her first time doing so for an institution.

One of the greatest strengths of the exhibition is the opportunity for viewers to share a kind of intimacy with an artist, to look at the ideas and images that shape an artist’s imagination and to also see the context in which an artist places herself, both art historically and contemporarily. All the works are by women, even those from the PAFA collection, except for an editioned flax and kozo piece by the African artist El Anatsui. Most are sculptures by artists who live and work in New York City, and, who Granwell finds, have “helped me take liberties in my own work.”**

She considers the most exciting part of curating the dialog with other artists. The opportunity for careful study of the works through studio visits she believes forces her to think more intently about what these artists are doing and subsequently, about her visual language. Borrowing from the collection also permits her to engage with the different lineages for contemporary art important to her development and to open a conversation about this context. A recent large exhibition on Granwell’s mind was Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (Hauser and Wirth). While organizing the PAFA show, she was thinking a lot about history, especially that of women in sculpture.

A challenge is the gallery, which has a cut-threw in the middle. Granwell decided to build on what she saw as the poetry of the space rather than dwell on a problem, and she was instrumental in the layout and installation of the show. Taking advantage of both the open areas and the running wall feet, she clearly thought very carefully about placement. There is often a dialog between works that are near each other, and the long views are poetic, matching her interpretation of the gallery space.

Granwell describes the chosen works for Intimate Immensity as having power, boldness, and humbleness. She sees the materials as invoking empathy in the viewer, commenting that “the artists are so fierce and so brave with the materials, but they don’t hit you over the head with it.” She also sees a dialog about the relationship between craft and sculpture taking place, stating that “many of the artists started out in painting but now make objects even if they still paint.” She believes it may be a material connection that she finds more often with women than men, and that is possibly why she is drawn to their work. However, Granwell believes there is more acceptance in the art world now for alternative processes. Certainly today, the border between craft and sculpture is fluid, amply demonstrated in this show.

Granwell’s own work references both craft and sculpture. The pieces are fragments, calling to mind classical sculpture. White with applied color, they suggest polychromed Greek statuary. The combined materials of paper, cement and wood make evident Granwell’s fascination with texture. Though common materials they result in sculptures that are elegant in form with highly individual personalities. Their grouping also recalls installations of modernist sculpture and fits the white space of the gallery. The bases are part of the whole and these too share a modernist language. Simultaneously historical and contemporary, craft and sculpture, they quietly engage viewers.

Installation view including works by Alexis Granwell, Brie Ruais, Lynda Benglis. Photo courtesy Constance Mensh

Other artists include Brie Ruais who creates huge ceramic works that look like the earth, deserts, and fossil beds. They are torn, ripped, smashed, and flattened individual pieces of clay that become complete upon installation together. Pigmented and glazed, their expressive power is not only in form and texture but also in color. They are quite painterly. There also are echoes of Peter Voulkos.

Fabienne Lasserre has five works on display. She experiments with materials, combining, for instance, steel, various types of paint, linen, and cardboard. Her forms resonate minimalism, but the various media and their application deny the perfection of that earlier style of sculpture.

Two artists play with Alexander Calder’s legacy. Michelle Segre twists and bends wire into stabiles covered with brightly colored paint, yarn, and found and paper-mache constructed objects. They are whimsical and tactile, and wonderfully, neatly messy. Sun You’s “Broad Posting” comprises a platform with all manner of found and constructed elements accompanied by two wall panels. Think of Calder’s “Circus.” The surprise of unrelated materials and elements, such as false eyelashes, beads, and paper clips results in a charming and obsessive, but skillfully organized, installation. These works are compelling and confirm Granwell’s description of powerful and humble sculptures. Like Granwell’s own body of work, there too, here, is a historical and contemporary context.

Intimate Immensity, February 15, 2019 – April 07, 2019, School of Fine Arts Gallery, Samuel M.V. Hamilton Building, Pennsylvania Academy of the Fine Arts, 118-128 N. Broad St.

To view the full article please visit Artblog.

For more information about Brie Ruais please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Brie Ruais Featured on Daily News Philly

March 21, 2019

The recent acquisition of a Brie Ruais piece by the Pennsylvania Academy of the Fine Arts featured on Daily News Philly.

Occasional visitors to the Pennsylvania Academy of the Fine Arts’ Hamilton Building may not realize that its upstairs hallway is a gallery that regularly plays host to some of PAFA’s more absorbing shows.

The latest arrival, “Intimate Immensity,” organized by sculptor and PAFA faculty member Alexis Granwell, is immediately recognizable as an exhibition. It’s also one of the few shows I’ve seen there that fully — and often thrillingly — engages this blah rectangular space and its distracting open entrances to other galleries.

This time, the art is the only diversion.

Granwell’s inspiration for her show is an essay of the same title by the influential French philosopher Gaston Bachelard, which led her to artists who evoke a sense of intimacy in works that on their face seem bolder or more strikingly expansive.

She selected some of the show’s pieces from PAFA’s collection, including paper works published by PAFA’s Brodsky Center, and paired them with her own sculptures and works by sculptors Fabienne Lasserre, Michelle Segre, and Brie Ruais.

It is these three artists who offer the show’s most compelling examples of intimacy in immensity.

Lasserre veers between large, freestanding oval structures that bring to mind stretched canvases and cheval mirrors, and twisty freestanding and hanging forms that look like line drawings writ in air and strangely alive and probing.

Segre’s large, freestanding sculptures involve found objects and share some similarities with Lasserre’s work, particularly their extenuated forms and fabric-wrapped surfaces. If Lasserre seems a descendant of Calder, Segre’s childlike exuberance and naivete is reminiscent of Miro.

At first glance, Ruais’ monumental wall-mounted pieces, from which parts have been ripped (the torn-away parts are also on display), might appear to be abstract paintings composed from some extremely thick medium. They’re actually fabricated from stoneware, with roughed-up, tactile surfaces that offer direct evidence of Ruais’ strenuous physical engagement with her work. I’d say she’s caught the true spirit of intimate immensity.

Lynda Benglis is one of the PAFA-affiliated artists in the show. Her Swamp Road and Alewive Brook, both published by the Brodsky Center, are small, wall-mounted sculptures, but their twisted shapes over chicken-wire armatures suggest human torsos and great physical strength.

Granwell’s own papier-mache sculptures on wood pedestals are also of modest scale. They hint at human forms, too, though hers look like abstractions of wrestlers in contorted poses.

Other works are so in-your-face they appear too large for their circumscribed boundaries, as though they’d burst out into a room if you let them. That’s especially true of a Louise Bourgeois drypoint of an enormous cat face that fills an entire print, from PAFA’s Art by Women Collection.

It’s also true of another work from that collection, an untitled painted porcelain test plate made by Judy Chicago during the production of her iconic feminist work The Dinner Party. The plate’s image depicts an artichoke-like plant, but there’s no missing the vagina at its center.

“Intimate Immensity” also features an essay by Bea Huff Hunter and works by El Anatsui, Chakaia Booker, Joan Snyder, and Sun You.

Through April 7 at the Pennsylvania Academy of the Fine Arts, 118-128 N. Broad St., 10 a.m. to 5 p.m. Tuesdays through Fridays, 11 a.m. to 5 p.m. Saturdays and Sundays. 215-972-7600 or pafa.org.

To view the full article please visit Daily News Philly.

For more information about Brie Ruais please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Sara Cwynar featured in British Journal of Photography

March 7, 2019

Sara Cwynar’s Image Model Muse show at the Milwaukee Art Museum is featured in British Journal of Photography.

Tracy Red 1 001

“I have been thinking about why we value the things that we value,” says Sara Cwynar, of new work exploring advertising, sexism, and the emotional effect of colour

Discovered objects and images play a vital role in the work of Vancouver-born, Brooklyn-based artist Sara Cwynar. Her practice blends collage, still life and portraits in photographic and filmic forms, incorporating material sourced on eBay, or at flea markets and the like. So when the opportunity arose to hold an exhibition at the Minneapolis Institute of Art last autumn, followed by a show at Milwaukee Art Museum this spring, it seemed a serendipitous moment to unearth works incorporating items from an archive close by.

“Some of the pictures that I’ve used as source material over the years came from an eBay seller who bought the archive of an old photo studio in Milwaukee,” she explains. “I think it was operational from the 1950s to the 1970s or so, and it closed down a long time ago. I like that they tie in to the location; I have repurposed some of the negatives from that for this show.”

Still-life images of a phone, a paint set and various examples of old beer packaging have found their way into the exhibition, which is titled Image Model Muse and runs from 08 March to 21 July. It will look back over the key bodies of work from Cwynar’s oeuvre, touching on themes from advertising and colour theory, to what she terms ‘soft sexism’.

At its core are a series of films, including centrepiece Rose Gold, which looks at the “emotional effect of colour, and how that’s used to sell things” through the lens of Apple’s rose-gold iPhone, and Soft Film, which addresses feminism, power dynamics and value systems, and stars an impressive collection of velvet jewellery boxes that Cwynar found on eBay.

Created like a work of assemblage and narrated with the rich baritone of a male voiceover (with the occasional gentle interjection from Cwynar herself), these films are vivid, satisfying and engrossing. They’re often funny, too, encouraging the viewer to acknowledge the harsh nature of contemporary society even as they make us laugh at our own complicity. Watching them feels like being poked and tickled at the same time.

Alongside these two films – and a third, Cover Girl, an examination of colour in the cosmetics industry – Cwynar will show her ongoing series of portraits of her good friend, Tracy Ma. The images touch on the same themes of feminism, colour theory and technology that permeate Rose Gold, and the same referential language of taking photographs, exposing the artifice behind the act. “I’ve been photographing her for years,” Cwynar explains.

She describes the works as “classic mid-century style portraits of Tracy reclining, always in the same position. She’s a graphic designer and an art director, so I feel she poses with the history of representations of women in mind – it’s a parody of a classic studio portrait of a woman.” Her image is combined with found photographs of other women, and historical representations of women, and the obsolete design objects that appear in a lot of Cwynar’s work.

The artist met Ma, who is now visual editor on the Styles desk at The New York Times, at university in Canada, where they studied design together. It was here, Cwynar explains, that she first started to think critically about how images can be used to sell. “Our design education was by no means only about advertising, but there was a component of that,” she explains.

On finishing, she spent three years working at The New York Times as a designer. “Even though it’s not that commercial a design job, it did get me thinking about making images for a larger public – and how, if you put something into the world, everyone will interpret it in a different way that you can’t anticipate. That started this whole part of my work that was about the lives of images and design objects and how things warp and change in value and in meaning over time.”

In the past three or four years, she continues, it’s shifted again, to focus on the arbitrariness of value specifically. “I used to be more interested in meaning, and how meaning shifts when things are put out into the world,” she says. “But now I have been thinking about why we value the things that we value. It just seems important, I guess, in this current moment. And I am trying to use some of the tools of design, to criticise the way design works.”

In the “racist patriarchy under capitalism that we live in” (a line she delivers with a smile), Cwynar’s works – luscious, soothing and tactile as they are – function like a Trojan horse.

To view the full article please visit British Journal of Photography. 

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Kate Newby featured in ArtNews

March 7, 2019

Kate Newby at the Independent art fair New York is featured in ArtNews.

As a long line queued against the icy winds of Lower Manhattan—the chattering classes nattering through chattering teeth—doors opened Thursday morning to the Independent art fair, stationed as in years past at Tribeca’s Spring Studios. Action was brisk from the get-go, as patrons made their way across four floors to see booths presented by 64 galleries. Attendees at the latest stop in a circuit that includes the Armory ShowPlan BSpring/Break, and other fairs running through the weekend included the curators Hans Ulrich Obrist and Margot Norton as well as directors of local organizations (Jay Sanders of Artists Space, Simon Castets of the Swiss Institute, Flavin Judd of the Judd Foundation).

On the fair’s first floor, small ceramic sculptures evocative of oyster shells were arranged by the New Zealand–born, Brooklyn-based artist Kate Newby. “She’s collected glass off the street that gets melted in a kiln,” Simon Cole, director of the Toronto-based Cooper Cole gallery, said of features in the work that look like little pools of water. “It’s in a series of what she refers to as ‘puddles.’ The great thing about this piece is it can be displayed in a variety of different ways. Often they’re displayed on window sills to catch the light, or it can be spread out over a home.” The several dozen pieces are sold all together, under the title Wild owns the night (2019).

 

To view the full article please visit ArtNews.

For more information about Kate Newby please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Jesse Harris featured on O FLUXO

March 5, 2019

Jesse Harris’ solo exhibition is featured on O FLUXO.

COOPER COLE is pleased to present a solo exhibition by Jesse Harris. This marks the artists third solo exhibition with the gallery.

While the removal of the author may simply be a part of discourse (Barthes)… by hiring an art forger, the artist produces simulations of paintings that question questions of authorship, ownership, originality and plagiarism,etalia,etcetera, ad nauseam.

To view the full article please visit O FLUXO.

For more information about Jesse Harris please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Sara Cwynar Featured at the Art Institute of Chicago

February 11, 2019

The Art Institute of Chicago published Sara Cwynar’s artist talk.

Sara Cwynar re-presents and remakes existing images to examine nostalgia, kitsch, the stoking of consumer desire, and the ways photographs circulate in altered form. Employing interventions such as collage and re-photography of vernacular and commercial source images, she produces intricate tableaux that reveal how the visual strategies of popular images infiltrate our consciousness. Among her key works are sculptural constructions that are photographed, printed, tiled, and re-photographed; images taken from darkroom manuals that are deconstructed using a scanner; and stock photographs that are collaged by hand and then re-photographed.

To view the video please visit The Art Institute of Chicago. 

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Sara Cwynar at The Milwaukee Art Museum

February 5, 2019

Sara Cwynar’s upcoming solo exhibition at The Milwaukee Art Museum.

Milwaukee, Wis. – February 5, 2019 – The Milwaukee Art Museum presents Sara Cwynar: Image Model Muse, the contemporary artist’s first solo exhibition in the United States, on view March 8 through July 21, 2019 in the Herzfeld Center for Photography and Media Arts at the Museum. The exhibition includes three recent video installations and large-scale photographs created by the Brooklyn-based Cwynar (b. 1985, Vancouver, Canada). The works in the exhibition focuses on the artist’s interest in the creation of consumer desire for objects and how society conceptualizes beauty.

“Cwynar’s multi-disciplinary practice across photography, film, and performance echoes and responds to video and performance art of the 1960s and 1970s, in which the artist is both subject and object of the camera,” said Lisa Sutcliffe, Herzfeld Curator of Photography and Media Arts, Milwaukee Art Museum, and co-curator of the exhibition. “Presenting her full range of work within the context of an encyclopedic collection provides opportunities to examine the historical evolution of standards of beauty and how design plays a role in its construction.”

The works on view reveal the artist’s study of the ways in which color, design and commercial goods can represent larger systems of power. By gathering and organizing objects according to color, vintage, material and content, Cwynar traces how they circulate and are valued by society. In this exhibition, she highlights the evolution of objects from idealized to outdated, focusing on complex feelings of both attraction and repulsion.

“I’m trying to dismantle this often-idealized kitsch, or often very nostalgic Western context of photography, which tells us who we think we are, and often with great bias. I’m trying to think of all the different ways that that is a false history,” said Cwynar. “I’m trying to be clear about my own ambivalence, and how you can see the way the strategies of design and advertising are working but still be seduced by them.”

The artist’s research-oriented films are meditations on the emotional impact of color, design, and popular imagery, and how desire is created. Museum visitors will have the opportunity to view three of Cwynar’s most recent films—Soft Film (2016), Rose Gold(2017), and Cover Girl (2018). Photographs from the artist’s ongoing Tracy series explore similar themes. Through the juxtaposition of commercial objects and Cwynar’s friend Tracy, who acts as the primary model for the series, Cwynar further shows how images can shape beliefs, values and standards of beauty.

“The Milwaukee Art Museum has always found a balance between exhibiting contemporary and historic art,” said Margaret Andera, interim chief curator and curator of contemporary art, Milwaukee Art Museum. “The opportunity to explore the work of Sara Cwynar alongside the depictions of beauty by a 19th-century French Academic painter in the concurrent Bouguereau & America exhibition, allows visitors to deepen their understanding of beauty from differing points of view and across centuries.”

Image Model Muse joins a long list of Milwaukee Art Museum exhibitions that have showcased a living female artist, including Penelope Umbrico: Future Perfect (2016), Currents 35: Tara Donovan (2012), Taryn Simon: Photographs and Texts (2012), On Site: Chakaia Booker (2010), On Site: Andrea Zittel (2004) and Laura Owens (2003) as well as numerous exhibitions of Wisconsin-born Georgia O’Keeffe during her lifetime.

Sara Cwynar has won numerous awards as an emerging artist, including the 2016 Baloise Prize, which recognizes international artists on the rise.

The exhibition is co-organized by the Milwaukee Art Museum and the Minneapolis Institute of Art, and curated by Lisa Sutcliffe, Herzfeld Curator of Photography and Media Arts, Milwaukee Art Museum, and Gabriel Ritter, Curator and Head of Contemporary Art, Minneapolis Institute of Art.

 

To view the full article please visit Milwaukee Art Museum.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Kate Newby Featured in The Oregonian

January 25, 2019

Kate Newby’s exhibition”A Puzzling Light and Moving” at Lumber Room is featured in The Oregonian.

Call it three-dimensional poetry, with chimes rather than rhymes.

Words play an integral part, conveying a layer of ideas, observations and ruminations, in  sculptor Kate Newby‘s current Portland exhibit, “A Puzzling Light and Moving.” Newby often carries a copy of poet Frank O’Hara’s “Second Avenue” collection and she considers titles for her works carefully, as shown by her installations at the Lumber Room, collector Sarah Miller Meigs’ pied-a-terre/gallery: “Three two one,” “I love you poems,” “The having seems great” and “Nothing that’s over so soon should give you so much strength.”

Working in ceramics, glass, wood and concrete, Newby looks for combinations of words that intrigue her, Meigs said. “She is very much present in the world, and she notices every little detail. She’s asking you to look very deeply and not just to brush by, because maybe it’s more than what you initially think.”

Usually, artists install their works and leave, but this show is a prolonged engagement – it opened in October and will continue through Oct. 6 – and while Newby is Lumber Room’s current artist-in-residence, she comes back and forth from Brooklyn, New York, where she lives. During her visit this January, she’s rearranged, replaced, subtracted and added elements. She’ll also present a lecture at the Oregon College of Art and Craft, on Jan. 28.

Newby’s “I love you poems” cluster on window ledges in the large lofty front room of Meigs’ second-floor space. “Kate finds broken glass on the streets and then she puts it into bowl-shaped ceramics, subjects it to high heat, and transforms them into beautiful objects,” Meigs said. “I believe Kate is simply exploring the idea in the potential beauty of the discarded.”

The room also housed “Three two one,” which was composed of ceramic hand-thrown chimes suspended from ropes. This installation has been completely redone and moved outside.

Elsewhere, new works include a text piece placed on the floor in the entry and 20 handmade windows with holes in the front room.

“Many things are possible when an artist is given time, support, encouragement and permission to carry forward and reflect,” Meigs said. She added that this project is a “moving target,” and since Newby was given the opportunity “to alter the past, to begin another future, or extend the present,” the installations are constantly evolving.

In an inner patio, “The having seems great” is a slanted wall of 50 barrel tiles, chosen from 140, in different clays, firings and textures. For one, Newby threw on a piece of spruce, whose sap burned into the tile. She imprinted another with couscous. Some have a rippled effect; others are smooth, lined or poked.

On another patio, “Northing that’s over so soon should give you so much strength” is a handmade puddle in concrete, oxide, ceramics and silver.

“I wanted to create a puddle to capture some of Portland’s rainfall, which has a reputation,” Newby said. “The concrete puddle is able to capture and reflect back what is happening in the outside environment.

“Also, since it is quite unique that I am able to do a one-year project, I wanted to include works that could participate with this unique time frame. I plan on leaving the puddle there for the entire time, and this will change and react as things change seasonally in Portland. I hope for snow, dust, litter, anything that will keep it as a work continually developing itself.”

The Lumber Room project presents her with an interesting and unpredictable challenge, Newby said. “I didn’t necessarily want to know the outcome at the beginning; I wanted to step into the duration of it and see what might be possible.”

To view the full article please visit The Oregonian.

For more information about Kate Newby please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

 

Sara Cwynar Featured in The Standard Hong Kong

January 23, 2019

Sara Cwynar’s Soft Film is featured in The Standard.

Twai Kwun Contemporary in Central is a very impressive 1,500-square-meter, purpose-built, museum-class gallery space, and if you like avant-garde video works this is the right time to go.

The gallery is hosting – quite briefly – an exhibition called Draw a Circle Twice. It is a selection of video artworks from the collection of the Museum of Modern Art in Frankfurt, Germany.

The works are described as drawing on choreography, repetition, circulation and emotional expansions in storytelling.

In Play Dead, Real Time by Douglas Gordon a circus elephant follows instruction from her trainer. Her movements are slow, but they are captured by camera work that turns the activity into something more rhythmic, even dance-like.

Stellenstellen by William Forsythe shows two actual dancers rotate and intertwine their bodies in a rehearsal.

In the same gallery, several pieces by Rosemarie Trockel provide a contrasting view of inanimate objects such as eggs coming to life.

Sara Cwynar’s Soft Film introduces the viewer to the artist’s collection of items bought on eBay. She discusses where the objects, such as jewelry boxes, might have come from.

John Baldessari’s Six Colorful Tales: From the Emotional Spectrum (Women) asks six young females to each recall a key moment in their past. The background colors change to suggest their varying emotions, from joy to fear.

Good Boy Bad Boy by Bruce Nauman similarly explores changing emotions with two actors.

To view the full article please visit The Standard.

For more information about Sara Cwynar please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Chrysanne Stathacos Featured on ArtInfo

January 15, 2019

Chrysanne Stathacos current exhibition is featured on ArtInfo.

Cooper Cole is presenting Chrysanne Stathacos’ “Gold Rush” through February 2, 2019.

The exhibition includes important historical printed paintings of ivy and marijuana leaves made in the 1990s, along with recent paintings, and assemblages. The viewers can explore a new site-specific installation from “The Rose Mirror Mandala” series, entitled “Alchemical Golden Rose Mandala” that occupies the floor of the gallery where Stathacos has been conducting performative activities during the course of the exhibition.

“Since the 1980’s, Stathacos has created works that conjure a shamanistic and eco-holistic reading. She investigates the spiritual properties inherent in visionary and healing plants, in conjunction with meditation activities. The AIDS crisis had a profound effect on her work, resulting in the use of direct impressions through a range of printmaking techniques using etching presses and silk screens. The impressions from nature were influenced by the works of Yves Klein, Anna Atkins, and The Shroud of Turin,” states the gallery.

Chrysanne Stathacos is a multidisciplinary artist of Greek, American, and Canadian origin. Her work has encompassed print, textile, performance, and conceptual art. Stathacos is heavily involved with and influenced by feminism, Greek Mythology, environment, eastern spirituality, and Tibetan Buddhism, all of which inform her current artistic practice. Chrysanne studied fine art at the Cleveland Institute of Art, Cleveland, USA (1969-1970); at York University, Toronto, Canada (1970-1973). Stathacos has exhibited for over 40 years in museums, galleries and public spaces internationally. Most recently, she created a series of works from her “Rose Mirror Mandala” Series for exhibitions curated by AA Bronson at Witte de With Center for Contemporary Art, Rotterdam (2013); Salzburger Kunstverein, Salzburg (2015); Grazer Kunstverein, Graz (2015); and KW Institute for Contemporary Art, Berlin (2018). Her works are included in public and private collections including the Albright- Knox Art Gallery, Buffalo; the Art Gallery of Greater Victoria; Art Bank, Ottawa; and the Art Gallery of Ontario, Toronto. Stathacos currently lives and works between Athens, Greece, and Toronto, Canada.

Since its conception Cooper Cole has always had a focus on existing as part of the global art dialogue. The gallery not only focuses on inviting international artists to exhibit in Toronto but also aims at promoting Canadian artists abroad through art fairs and partnerships with other galleries across the globe.

To view the full article please visit  ArtInfo.

For more information about Chrysanne Stathacos please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

Bjorn Copeland Featured in The Brag

January 14, 2019

Bjorn Copeland’s band Black Dice is featured in The Brag.

Having spent close to two decades as one of the most prominent musicians in The DFA team, Gavin Rayna Russom is arguably best known for her work as the lead synthesist for New York City icons LCD Soundystem.

However, there’s plenty more to her resumé than just LCD, having released albums with different artists and under different names, including Black Leotard Front, Black Meteoric Star and The Crystal Ark.

Known to many as The Wizard due to her technical prowess with her instrument, Russom has built custom synthesisers for some of the biggest names in the business, including James Murphy (LCD Soundsystem), Tim Goldsworthy (UNKLE, The Loving Hand) and Bjorn Copeland (Black Dice).

Now, with Mardi Gras 2019 kicking off next month, Gavin Rayna Russom is set to play an exclusive show at Chippendale’s Seymour Centre.

Taking place on Friday, March 1, this one-off event is set to be a very unique experience for fans of music.

Between pushing the limitations and possibilities of analogue synth electronic production, and attempting to find authenticity in a word of synthesised sounds, Russom’s performance is undoubtedly on track to be a highlight of 2019’s live calendar.

It all kicks off on March 1 at the Seymour Centre’s Everest Theatre. For tickets and more info, be sure to head over the Seymour Centre’s website.

To view the full article please visit The Brag.

For more information about Bjorn Copeland please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

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