Cooper Cole Gallery ~the Animals I've Painted~ works by Saul Alegria through Sept 5.2026.

Saul Alegria The Animals I've Painted!! July 16 - September 5, 2026   Request available artworks   To view full exhibition and artwork documentation on our website click here.     For all other inquiries please contact the gallery: info@coopercolegallery.com +1.416.531.8000     COOPER COLE is pleased to present a solo exhibition of paintings and ceramic sculptures by Richmond, California–based artist Saul Alegria. This exhibition is organized in partnership with NIAD (Nurturing Independence through Artistic Development) in Richmond, CA. NIAD has been a cornerstone of the Bay Area arts community since 1982, supporting artists with intellectual and developmental disabilities across painting, ceramics, printmaking, textiles, and mixed media. Working from images found in books at NIAD, Alegria paints animals with striking immediacy. Monarch butterflies, weevils, sea dragons, buffalo, birds, reptiles, and insects emerge through luminous, unexpected colour combinations that are both intuitive and assured. Asked how he arrives at his distinctive palettes, Alegria replied, "I choose the variety of color I choose." The answer reflects a practice guided by instinct rather than convention, where colour becomes a way of seeing as much as describing. His ceramic sculptures continue this dialogue between observation and imagination. Familiar animals coexist with invented creatures, each approached with the same curiosity and care. He notes, "This ceramic bunny… is kind of really nice. I do love that green lizard. This (yellow) creature looks new, it's very intriguing. I just put a star on top… it's made up in my head." Across both painting and ceramics, Alegria reimagines the natural world through instinctive colour, playful invention, and an unmistakably personal visual language. Rooted in curiosity and guided by intuition, his works invites you to encounter animals not as fixed subjects, but as endlessly expressive forms.     Saul Alegria (b. 1987) is a painter and sculptor based in the Bay Area. His works reimagine animals and insects in striking, electric shades of colour. In some paintings, Alegria offers tender, carefully-studied portraits of his animal subjects. In other images he transforms inhabitants of the natural world into flattened, potent symbols. His sculptures are powerful composite forms that combine familiar creatures with icons from mythic quests in video games. Alegria’s work was prominently featured in the landmark exhibition, “Into The Brightness” at the Oakland Museum of California, and in 2023, the OMCA acquired one of Alegria's paintings for their permanent collection. He has participated in group exhibitions at Bedford Gallery, Walnut Creek, CA; Sage Studio, Austin, TX; Narrative, Oakland, CA; Sonoma State University, Rohnert Park, CA; and Petaluma Arts Center, Petaluma, CA. Saul Alegria has worked at NIAD Art Center in Richmond, CA since 2007.   Saul Alegria The Animals I've Painted!! July 16 - September 5, 2026

Cooper Cole 1134 + 1136 Dupont St Toronto, Ontario M6H 2A2 Canada Thursday - Saturday: 12-5pm info@coopercolegallery.com +1.416.531.8000   Instagram coopercolegallery.com #coopercolegallery,#ineartmagazineblog.blogspot.com#sunstormfineartmagazine.com, #artfunanimals#artfunhappy#artfunnow#artfunkids#artfunall

Geoff McFetridge opens at Cooper Cole Gallery, July 16, 8-PM, Ontario Canada.

Geoff McFetridge  Grasslands July 16 - September 5, 2026 Opening reception: Thursday, July 16, 6-8pm Request a preview     For all other inquiries please contact the gallery: info@coopercolegallery.com +1.416.531.8000     COOPER COLE is pleased to present Grasslands, a solo exhibition of new paintings by Geoff McFetridge. This new body of work extends McFetridge’s ongoing investigation into perception, memory, and the spaces between observation and imagination. Figures, animals, architecture, and landscape elements occupy scenes that feel at once recognizable and elusive, suspended between lived experience and dream. The paintings evoke a cinematic stillness reminiscent of Alex Colville’s psychologically charged scenes, yet they turn westward into a distinctly unreal landscape where narrative remains suspended and unresolved. While rooted in observations of the everyday, the works in Grasslands carry traces of the vast horizons and spatial sensibilities of the Canadian prairies where McFetridge was raised. Familiar motifs appear transformed, existing somewhere between recollection and invention, certainty and dream.   Materially, the exhibition marks a subtle shift in the artist’s approach. Layers of oil paint are applied over graphic acrylic foundations, creating surfaces that feel atmospheric and luminous. Rich colours emerge through veils of softened paint, producing an effect that is both saturated and sun-bleached. Contrast is deliberately reduced, flattening distinctions between foreground and background, and dispersing attention across the entire composition. Rather than directing the viewer toward a central protagonist, the paintings invite a slower form of looking in at which figures and environments exist in quiet relation to one another.     Geoff McFetridge (b. 1971, Calgary, Alberta, Canada) is interested in how images exist in between or outside of language, and in turn how this encourages more open-minded approaches to cognition. In his paintings, images become language; in the artist’s words, “it should feel like something, rather than look like something.” In the pictorial spaces he creates, definitions are less finite and can slip between interpretations. As indicated by their titles, many of his paintings whimsically play with the bodily experience of design, using simplified figures to both think about forms and collective experiences. McFetridge received his BFA from the Alberta College of Art and Design and his MFA from the California Institute of the Arts. McFetridge was part of the infamous Beautiful Losers exhibition which debuted in downtown New York in 1991 and went on to tour the world. He has continued to exhibit in international galleries including Cooper Cole, Toronto; Contemporary Calgary, Calgary; Half Gallery, New York; V1 Gallery, Copenhagen; Gallery Target, PlayMountain, Tokyo; and Heath Gallery, Los Angeles. McFetridge has also been included in museum exhibitions at the Vancouver Art Gallery, Vancouver; the Santa Monica Museum of Art, Santa Monica; the Walker Art Center, Minneapolis; the Yale University Art Museum, New Haven; Museum of African American Art (MAAA), and The Geffen Contemporary at MoCA; Los Angeles. McFetridge currently lives and works in Los Angeles, California, USA.     Image: Geoff McFetridge, Untitled, 2026, pencil on paper, 8.5 x 11 inches (21.59 x 27.94 cm)       Geoff McFetridge  Grasslands July 16 - September 5, 2026

Cooper Cole 1134 + 1136 Dupont St Toronto, Ontario M6H 2A2 Canada Thursday - Saturday: 12-5pm info@coopercolegallery.com +1.416.531.8000   Instagram coopercolegallery.com #coopercolegallery#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunhorses#artfunnew#artfunhappy#artfuntoday

 

Cooper Cole Gallery to exhibit Russna Kaur " It Splits off Gently Lifting Under the Pull March 28- May @ , 2026

 UPCOMING: RUSSNA KAUR | IT SPLITS OFF, GENTLY LIFTING UNDER THE PULL | OPENING MARCH 28, 2026

Russna Kaur It splits off, gently lifting under the pull March 28 – May 2, 2026 Opening reception: Saturday, March 28, 5-8pm     For all other inquiries please contact the gallery: info@coopercolegallery.com +1.416.531.8000     COOPER COLE is pleased to present It splits off, gently lifting under the pull, a solo exhibition of new paintings by Russna Kaur. This marks the artist’s first presentation with the gallery. The exhibition brings together a group of large-scale, multi-panel paintings that operate in the space between what is visible and what remains concealed. Resistant to immediate interpretation, the works sustain a sense of ambiguity, allowing forms and meanings to shift over time. Through mark-making, composition, and scale, the paintings gesture toward memory and identity before dissolving back into abstraction. Bright, vibrant colours initially appear playful but quickly give way to friction and instability. Within this tension, surfaces peel and shift, revealing something unspoken. Kaur’s abstractions carry the weight of personal and cultural histories without fixing meaning, leaving the works open to multiple interpretations, and inviting contemplative engagement. Layering shapes form the meaning of Kaur’s paintings. Panels of canvas are assembled together, emphasizing the work’s physical structure. Repeated gestures, accumulated paint, and overlapping surfaces become analogues for emotion and generational memory. These processes echo Kaur’s early studies in biology, which sharpened her attention to hidden systems, internal frameworks, and the accumulation of time. Rather than resolving these tensions, Kaur sustains them, allowing the paintings to remain dynamic spaces where meaning is continuously formed and undone.     Russna Kaur (b. 1991, Brampton, Ontario, Canada) is an artist whose abstract paintings are characterized by an experimental use of colour and materials. Kaur completed a Bachelor of Arts at the University of Waterloo and a Master of Fine Arts at Emily Carr University of Art + Design. Kaur has exhibited at the Kamloops Art Gallery, Kamloops; Remai Modern, Saskatoon; Vancouver Art Gallery, Vancouver; Audain Art Museum, Whistler; College Art Galleries at the University of Saskatchewan, Saskatchewan; Art Gallery of Burlington, Burlington; Galerie Isa, Mumbai, and Gajah Gallery, Yogyakarta. Kaur has been an artist-in-residence at the Burrard Arts Foundation, Vancouver; Centrum Emerging Artist Residency, Port Townsend; Independent Artist Residency, Los Angeles; Wassaic Project, New York, and the Annandale Artist Residency, Prince Edward Island. Kaur’s work is held in numerous private, corporate and institutional collections including the TD Bank Collection, RBC Art Collection, Desjardin Collection, Audain Art Museum, the Vancouver Art Gallery, the Surrey Art Gallery, and the Gordon Smith Gallery of Canadian Art. Kaur lives and works in Mississauga, Ontario, Canada.   Image 1: Russna Kaur, Increasingly misguided, shrill tones - a welcome is near!, 2026 (installation), Acrylic paint, oil stick coloured sand and molding paste on canvas 64 x 60 inches (162.56 x 152.40 cm) Image 2: Russna Kaur, Unsuspecting, rebellious thoughts - flawless, and with so little time, 2026, Acrylic paint, coloured sand, charcoal and molding paste on canvas 96 x 120 inches (243.84  x 304.80  cm)     Russna Kaur It splits off, gently lifting under the pull March 28 – May 2, 2026   Cooper Cole 1134 + 1136 Dupont St Toronto, Ontario M6H 2A2 Canada Thursday - Saturday: 12 - 5pm info@coopercolegallery.com +1.416.531.8000   Instagram coopercolegallery.com #coopercolegallery#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#sprintartfun

Cooper Cole Gallery showcases Paul P at Post Fair. February 26-28, 2026 , Santa Monica,Ca

Paul P. Post-Fair  February 26 – 28, 2026 Santa Monica, California Request a preview     COOPER COLE is pleased to present a selection of works on paper and lithographs by gallery artist Paul P. at Post-Fair from February 26 – 28, 2026. The presentation foregrounds works reflecting the artist’s enduring engagement with the cultural dialogue between Venice Beach and Venice, Italy.   Paul P. at Post-Fair February 26 – 28, 2026 1248 5th St, Santa Monica, CA, 90406   Hours: Thursday, February 26 | 11 am - 8 pm Friday, February 27 | 11 am - 6 pm Saturday, February 28 | 11 am - 6 pm   For sales and press inquiries please contact the gallery: info@coopercolegallery.com +1.416.531.8000       Paul P. Post-Fair  February 26 – 28, 2026 Santa Monica, California

current exhibitionS     Fin Simonetti  Canada Goose January 31 - March 14, 2026   Request available artworks    To view full exhibition and artwork documentation click here.     Jesse Harris Copypasta January 31 - March 14, 2026   Request available artworks   To view full exhibition and artwork documentation click here.

Cooper Cole 1134 + 1136 Dupont St Toronto, Ontario M6H 2A2 Canada   Thursday - Saturday: 12 - 5pm info@coopercolegallery.com +1.416.531.8000   Instagram coopercolegallery.com

© Cooper Cole Having trouble seeing this email? Click here.

#coopercolegallery#fienartmagazineblog.blogspot#sunstorfineartmagazine.com#sunstormfineartmagaz#jamieellinforbes#artfuntoday

Cooper Cole's Exhibition for Timothy Yanick Hunter Antecedent Conditions For A Landslide Closing January 17, 2026

Timothy Yanick Hunter Antecedent Conditions For A Landslide Closing January 17, 2026 Request available artworks   To view full exhibition and artwork documentation on our website click here.     For all other inquiries please contact the gallery: info@coopercolegallery.com +1.416.531.8000     COOPER COLE is pleased to announce Antecedent Conditions For A Landslide, a solo exhibition by Timothy Yanick Hunter that will run concurrently at Cooper Cole in Toronto and at Bradley Ertaskiran in Montreal.   Antecedent Conditions For A Landslide draws on the structural relationships between land, body, and technology, considering how these entanglements shape migratory movement and the transfer of knowledge across time and space. Taking inspiration from the writings of academics such as Édouard Glissant, Katherine McKittrick, and Clyde Woods, the exhibition reflects on notions of relation, geography, and collective memory as they inform diasporic experience. The exhibition will take place in two galleries in two different cities, with one iteration in Toronto and another in Montreal, a dual presentation that expands the project’s conceptual scope by highlighting movement, circulation, and translation, all key concerns in Hunter’s practice. Processes of splicing, cutting, and rerecording guide the production of these works. Deconstruction operates as the central method, where fragments are isolated, repeated, and rearranged to generate new associations. Through this gesture, Hunter’s multimedia video, sound, and photography artworks resist linearity and coherence, instead centering ideas of adaptation and growth. The imagery moves between infrastructural and organic registers: wiring systems appear alongside igneous foundations, biological traces of growth, and the human body. These material juxtapositions underscore how technological networks and environmental processes mirror one another in their fragility and capacity for transformation. The artworks take form as vessels for advertising, presented on commercial signage and screens, using the language of public display to question how images circulate, persuade, and shape collective understanding. Taken together, this body of work engages ideas of biology, biomimicry, and environmental shifts as they relate to diasporic experience. The works suggest that migration is not only a movement of bodies but also a circulation of materials, energies, and information that are constantly evolving. In doing so, Hunter situates the diasporic experience as both temporal and generative, a site where systems of land, body, and technology intersect, break down, and reassemble into new and provisional forms of continuity. Timothy Yanick Hunter (b. 1990 Toronto, Ontario, Canada) is a multidisciplinary artist and curator. Hunter’s practice employs strategies of bricolage, video, and new media to examine non-neutral relationships relating to Black and Afro-diasporic experiences as well as concurrent strategies of decolonization. His approach alternates between exploratory and didactic, with a focus on the political, cultural and social richness of the Black diaspora. Hunter’s work often delves into speculative narratives and the intersections of physical space, digital space and the intangible. Hunter received his BA from the University of Toronto, and has been artist in residence at the Art Gallery of Ontario, Toronto; PADA Studios in Barreiro, Portugal; and Black Rock Senegal, Dakar. He was included in the 2022 Toronto Biennial of Art, and longlisted for the 2022 Sobey Art Award. His artwork can be found in the institutional collections of The Studio Museum in Harlem, and The National Gallery of Canada. He has exhibited nationally and internationally at Cooper Cole, Gallery 44, A Space Gallery, Toronto; Oakville Galleries, Oakville; Centre Clark, Montreal; 92Y, New York; ILY2, Portland; Kendra Jayne Patrick, Bern; Art Gallery of Guelph, Guelph; and PADA Studios, Barreiro; Third Born, Mexico City; among others. Hunter lives and works in Toronto, Ontario, Canada.     Timothy Yanick Hunter Antecedent Conditions For A Landslide Closing January 17, 2026

Cooper Cole 1134 + 1136 Dupont St Toronto, Ontario M6H 2A2 Canada Thursday - Saturday: 12 - 5pm info@coopercolegallery.com +1.416.531.8000   Instagram coopercolegallery.com

COOPER COLE Exhibits, I saw her duck, a solo works by Van Maltese

Geoff McFetridge Nature Mart Van Maltese I saw her duck Closing January 20, 2024 COOPER COLE is pleased to present Nature Mart, a solo exhibition with Geoff McFetridge. This marks the artists fourth exhibition at the gallery.   In this exhibition, McFetridge focuses on our human connection to the natural world and prompts viewers to question its role in our lives. Do we merely exploit nature for nourishment, wealth, and entertainment, or are we part of a larger, interdependent system? Through a tantric and transitive process of mark making, these images evolve from an abstract state of the unknown, and are revealed organically during the creative process. In this body of work, McFetridge aims to explore and expand on his conceptual thought processes related to ideas of understanding and evolution. These paintings are meant to question modes of consciousness, intelligence, empathy, ethics, freedom, and responsibility, while encouraging a contemplation of our place within the natural world and the larger ecosystem.   Geoff McFetridge (b. 1971, Calgary, Alberta, Canada) is interested in how images exist in-between or outside of language, and in turn how this encourages more open-minded approaches to cognition. In his paintings, images become language; in the artist’s words, “it should feel like something, rather than look like something.” In the pictorial spaces he creates, definitions are less finite and can slip between interpretations. As indicated by their titles, many of his paintings whimsically play with the bodily experience of design, using simplified figures to both think about forms and collective experiences. McFetridge received his BFA from the Alberta College of Art and Design and his MFA from the California Institute of the Arts. McFetridge was part of the infamous Beautiful Losers exhibition which debuted in downtown New York in 1991 and went on to tour the world. He has continued to exhibit in international galleries including Cooper Cole, Toronto; Half Gallery, New York; V1 Gallery, Copenhagen; Gallery Target, PlayMountain, Tokyo; and Heath Gallery, Los Angeles. McFetridge has also been included in museum exhibitions at the Vancouver Art Gallery, Vancouver; Contemporary Calgary, Calgary; the Santa Monica Museum of Art, Santa Monica; the Walker Art Center, Minneapolis; the Yale University Art Museum, New Haven; Museum of African American Art (MAAA), and The Geffen Contemporary at MoCA; Los Angeles. McFetridge currently lives and works in Los Angeles, California, USA. info@coopercolegallery.com +1.416.531.8000 coopercolegallery.com

COOPER COLE 1134 + 1136 Dupont St., Toronto, Ontario M6H 2A2, Canada Thursday - Saturday: 12 - 6pm info@coopercolegallery.com +1.416.531.8000 Instagram coopercolegallery.com #coopercolegallery#foneartmagazine#fineartfun

Cooper Cole Gallery exhibits G.B.Jones August 6th

G.B. JONES Organized by Kunstverein Toronto in collaboration with D St-Amour August 6 - September 10, 2022   Opening reception and book signing: Saturday August 6, 5-7pm   G.B. Jones is recognized for many accomplishments: for the success of her post-punk band Fifth Column (1981-2002), the widespread influence of the many queer punk zines she co-authored, including J.D.s, Double Bill and Hide, her coining of the term “queercore,” and her prolific work as a “no-budget” filmmaker, scene photographer and visual artist. Her drawing series, “Tom Girls,” originally published in J.D.s, replaced Tom of Finland’s iconic, “hyper-virile studs” with bold, uncompromising leather dykes, co-opting Finland’s objectified, male-on-male erotica and presenting a world of “nasty female role models.”   In 1994, Feature gallery and the publishing imprint Instituting Contemporary Idea in New York released G.B. Jones, a monograph compiling Jones’ “Tom Girls” drawings alongside show and film posters, record covers, comics and commissioned writing. As part of a campaign by the Canadian Border Services agency against allegedly pornographic or immoral materials in the 1990s, copies of Jones’ book were seized by the Canada Border Services Agency and barred from entering the country on the charge of depicting “bondage.” Jones was later informed that the seized copies had been burned by Border Control agents.   27 years later, in collaboration with Jones, Kunstverein Toronto is putting G.B. Jones back in circulation in Canada. A re-publication of the book will launch on August 6 at Cooper Cole alongside an exhibition of related drawings, photographs, posters, ephemera and tributes that reflect the reach and influence of Jones’ heterogenous practice, both at the time of the original release of G.B. Jones, and today. This project was curated by Kunstverein Toronto together with research and publication direction by D St-Amour.   “Dodie Bellamy on G.B. Jones’s Nasty Female Role Models” Frieze Issue 200, Jan 9, 2019   G.B. Jones (b. Bowmanville, Ontario, Canada) is an artist, filmmaker, musician, and publisher of zines. Jones’ drawings first received notoriety when published in the Toronto-based queer punk zine J.D.s that she ran with Bruce LaBruce. Her prolific drawing series Tom Girls is widely recognized, and reimagines Tom of Finland’s drawings by replacing all the hyper-masculine subjects with women, subverting the intent into a contribution to third-wave feminist art. In 2002, Jones began a series of collaborative collages with Paul P., many of which were published in the book A Queer Anthology of Rage. Jones’ spray-painted images of Ionian columns - one of which is permanently installed at Cooper Cole - references her post-punk band Fifth Column (1981–2002) and suggests the weaving together of her music and drawing practice.   Jones has exhibited her art nationally and internationally since the early 1990s, in spaces such as Columbus Museum of Art, Columbus; Participant Inc., New York; Mercer Union, Toronto; The Power Plant, Toronto; Kunsthalle Exnergasse, Vienna; White Columns, New York; AKA Artist Run Space, Winnipeg; Muncher Kunstverein, Munich; and Schwules Museum, Berlin.  She was included in the 2012 exhibition This Will Have Been: Art, Love, and Politics in the 1990s, which was curated by Helen Molesworth for the MCA Chicago and subsequently travelled to the Walker Art Center, Minneapolis, and the ICA Philadelphia. She has also exhibited at national and international galleries including David Zwirner, New York; Cooper Cole, Toronto; Paul Petro Contemporary Art, Toronto; Feature, New York; Galerie Clark, Montreal; and Or Gallery, Vancouver. G.B. Jones lives and works in Toronto, Ontario, Canada and is represented by Cooper Cole.   Kunstverein Toronto is a curatorial and publishing platform operating alongside its partners in Amsterdam, Aughrim, Milan and New York. Moveable in both time and space, Kunstverein Toronto is dedicated to experimentation, discussion and hospitality in art, exhibition and publication practices. Fundamentally, Kunstverein Toronto seeks to foster exchange between local and international conversations, contexts and generations. Kunstverein Toronto was founded in 2014 by Kara Hamilton and Kari Cwynar. We program in dialogue with a local advisory board as well as an international group of artists, curators, thinkers and enthusiasts.     D St-Amour is a writer, curator and book maker currently located in Tio'tia:ke - Mooniyang (Montreal).   G.B. JONES Organized by Kunstverein Toronto in collaboration with D St-Amour August 6 - September 10, 2022   Opening reception and book signing: Saturday August 6, 5-7pm For sales and press inquiries please contact the gallery:  info@coopercolegallery.com +1.416.531.8000 coopercolegallery.com #coopercolegallery#fineartmagazine#sunstormartfun