We are pleased to launch our newest initiative in support of emerging artists and curators: Summer Sessions, a program through which we are making free space and staffing support available to graduates of local and regional colleges and universities to present their thesis exhibitions in downtown Toronto.
TYPOLOGY is pleased to present On The Surface | Susana Reisman, featuring the Toronto-based artist’s latest findings from her multi-year investigation into the nature of wood. Encompassing aspects of both drawing and painting even as it foregrounds relationships between sculpture and photography, the exhibition includes a selection of large-scale colour photographs and several freestanding wood sculptures.
TYPOLOGY is pleased to announce the launch of Conversations, a new series exploring research-based arts by Curator-in-Residence, Oana Tanase. Her first interview features Brooklyn-based artist, Rob Carter.
Rob Carter was born in Worcester, UK and currently lives and works in Brooklyn, New York. He received his BFA from The Ruskin School of Drawing and Fine Art at Oxford University and later received an MFA in Studio Art from Hunter College in New York. He has shown his work internationally, with solo exhibitions at Art In General in New York, Galerie Stefan Röpke in Cologne, Station Independent Projects in New York, Galeria Arnés y Ropke in Madrid and Fondazione Pastificio Cerere in Rome. He has also exhibited at Centre Pompidou-Metz in France, Hiroshima City Museum of Contemporary Art in Japan, The Field Museum in Chicago, Institute of Contemporary Art in Philadelphia and Museum of Arts and Design in New York.
TYPOLOGY is pleased to present FLIGHTS & LANDINGS, a two-part exhibition of work by three multidisciplinary artists from three different cities: Brooklyn-based Tamara Gayer, Berlin-based Christine Gedeon, and Toronto-based Janine Miedzik. Known for their visually engaging, site-responsive approaches to installation, each artist will debut a large-scale project in one of the stairwell galleries at Artscape Youngplace (the Flights), complemented by a selection of smaller artworks representing object-oriented aspects of their practices in the project space (the Landings).
Just 13 miles up Route 9 from Hudson, in the village of Kinderhook, NY, is gallerist Jack Shainman’s latest venture, aptly named The School. Repurposed from a decommissioned Federal Revival public school built in 1929, this beautiful new exhibition venue has been thoughtfully redesigned by Spanish architect Antonio Jimenez Torrecillas into a multifaceted project space and gallery featuring work and projects by Shainman’s roster of internationally known artists.
Now that we are into the thick of summer, what better thing to do on break from exhibition-making than visit other wonderful exhibitions? Luckily our travels are bringing us through some good places to see shows, and we would like to share some of the best of what we come across while we are on the road.
Today’s post features an excellent exhibition at the Ruth and Elmer Wellin Museum of Art at Hamilton College in Clinton, NY. Titled In Context: The Portrait in Contemporary Photographic Practice, the show is curated by Robert Knight and features thirteen artists who blur the lines between conceptual and documentary photography.
Closing after this long weekend is the Power Plant’s sprawling summer exhibition, Postscript: Writing After Conceptual Art. Curated by Andrea Andersson and Nora Burnett Abrams, this multi-sensory feast for the eyes, ears, and mind is a testament to the variety and richness of artistic and poetic approaches to language undertaken by conceptual artists and writers since the 1960s.
Closing this weekend is a wonderful exhibition by U of T Curatorial Studies graduate, Julia Abraham. I Thought There Were Limits features site-specific work by Karen Henderson, Yam Lau, Gordon Lebredt, Kika Thorne, and Josh Thorpe, all thoughtfully installed in the Justina M. Barnicke Gallery.
Bringing together both new and previously conceived works, the exhibition tests the limits of site-specificity as it relates and responds to spatial context and/or conditions. For example, Karen Henderson’s wall-filling photograph of the gallery floor, inverted to eye-bending effect, fulfills art-historical criteria for site-specific work by responding very directly to both a particular place and time. Henderson’s work, with its subtle reflections of lighting patterns from the gallery’s previous show, speaks eloquently to the recent history, materiality, and spatial conditions of the JMB Gallery, and would not — could not — make sense in any other space.
Today’s post is a virtual exhibition featuring historic and contemporary film, video, installation, and performance works that utilize film and analogue technologies in a search for the cinematic, even as these materials and methods become obsolete and disappear.
Based in part on a reading of Matilde Nardelli’s essay, Moving Pictures: Cinema and Its Obsolescence, this exhibition addresses the widespread use of outmoded or obsolete technologies in recent art and questions the interpretation that artists are engaging in acts of fetishization, nostalgia or mourning for analogue in the wake of digital technology.
Taken together, these works from the past and recent history of contemporary art resonate visually and conceptually with each other and with the poetic potential for cinema in a digital future.
The past week has been a whirlwind in many ways, not least because of the devastation Hurricane Sandy wreaked on the East Coast. Here in Toronto, we saw howling winds, a week of rain, and trees down, but nothing like the floods and power outages to our south. As cleanup began over the weekend in New York and New Jersey, we kept tabs on our friends’ progress down there while confronting a wholly unrelated, yet no less saddening tragedy up here — the death of a person we didn’t even know.