- November 2, 2018 to December 15, 2018
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2068: Touch Change is both an archive and a speculation. Beginning 50 years in the future, this new exhibition by Toronto-based artist Syrus Marcus Ware proposes an archive whose ‘holdings’ act as a meeting ground for artists and activists across time and space. The exhibition has 3 main components: a series of large-scale graphite portraits drawn on paper and directly on the walls, a speculative text and a disseminated printed work that documents materials gathered and accessed in the artists’ research process. The portraits – in many ways the centrepiece of the exhibition – are created through a complex process of visiting and revisiting images and interviews with historic and present-day BIPOC (Black, Indigenous or People of Colour) activist communities. Ware’s investment in the archive is overlaid with a parallel interest in forms of speculative fiction (see his recent piece in C Magazine or his essay on Octavia E. Butler published by Canadian Art last year) and he speaks eloquently about how he envisions his research and installations as ways of creating a space where activists and artists of different generations are brought together.
By Syrus Marcus Ware - Curated by Vanessa Kwan
medium | 28 Programs
Medium DrawingA picture or image made with a pen, pencil, crayon, or similar media rather than with paint.
- January 22, 1986 to February 1, 1986
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No description available
Behind Eyes
- October 4, 2002 to October 26, 2002
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The human nude, central to Clement's work, is reinterpreted through numerous small drawings. The drawings are gathered into long strips and folded into large accordion shapes which are hung nearly to ceiling height. Created with mixed techniques and media, and done primarily in luminous blues, the resulting installation generates an impression of movement and enclosure within a sequence of instantaneous emotion.
By Jacques Clement
Bleu-Blue
- March 10, 1998 to March 28, 1998
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No description available
By Denise Carson Wilde - Curated by Glenn Alteen
Butterfly Eyes
- September 10, 2015 to October 10, 2015
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Castillo's work refers to a cultural past and contemporary present, fusing a hybridized aesthetic to engage issues about migration, historical trauma, identity, and memory. His narratives express a multifacted, interlocking and non-linear approach. Consequently, the body of work revises and casts new personal interpretations on memory-building as a form of resistance, political commentary and healing.
By Osvaldo Ramirez Castillo
Catastrophe, Memory, Reconciliation
- November 6, 1984
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Co-optional Spaces is a new show of drawings by Hillary Wood. She calls her style Mythical Realism and says of these particular drawings "The window is a recurring image in the continual dialogue between the self and other. Dream and vision in confrontation with illusion and distortion...".
By Hillary Wood - Curated by Garry Ross
Co- Optional Spaces
- November 14, 1989 to November 25, 1989
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Autobiographical drawings can be a powerful tool for self-discovery and resolution. In Margaret Atwood's recent novel, Cat's Eye, painter Elaine Risley returns to Toronto after several years in Vancouver for a retrospective of her work. In the process of installing and previewing the show the artist is confronted with the ghosts of her past and cones to an understanding of its tyrannies.
In a similar way Gail Carney's work on paper uses personal symbolism and allegory to evoke both conscious and unconscious dilemmas. Her personal vocabulary of symbols is not, however, self-absorbed and preoccupied but offers us images that luminously evoke common concerns. (For full curatorial statement see exhibition catalogue attached below)
By Gail Carney - Curated by Carol Denny, Donna Hagerman
Dolls on Paper Refrigerators
- June 18, 2004 to July 30, 2004
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This series of recent drawings, mostly completed within the last year, show Yuxweluptun's continuing engagement with the medium. His drawings are labour intensive, showing the extreme, rich detail achieved with a crosshatch technique. They provide an interesting counterpoint to his larger paintings and often serve as studies for later works, where the images are developed and refined. Here we see Yuxweluptun at his loosest, most playful, and most experimental. The subject matter in these drawings runs the gamut of Yuxweluptun's interests: satirical and biting but also spiritual and aesthetic.
By Lawrence Paul Yuxweluptun
Drawings
- July 14, 1987 to July 25, 1987
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The exhibit is primarily a series of black and white drawings that can best be described as free-form. They have a sense of surreal automatism.
By Benoit Bussiere
Drawings And Paintings
- July 4, 1989 to July 15, 1989
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Charcoal drawings and text for Orbis Pictus - both by Jo Cook, inspired by the book by Czech philosopher Jan Amos Comenius (1592-1670.)
By Jo Cook - Curated by Glenn Alteen