Cooper Cole Gallery, Art Basel’s online art fair OVR: 20C presentation of Chrysanne Stathacos

Art Basel OVR:20C Chrysanne Stathacos October 30-31, 2020 VIP Preview October 28, 2020 To register for Art Basel OVR:20C please follow this link. COOPER COLE is pleased to present an online exhibition of works by Chrysanne Stathacos for Art Basel’s online art fair OVR: 20C. This fair is specifically dedicated to art made in the 20th century and will focus on Stathacos’ works from the 1990s. Chrysanne Stathacos is an artist of Greek, American, and Canadian origin. Her conceptual practice encompasses printmaking, textile, painting, and performance, and explores the connections between ritual actions, Greek mythology, spirituality, and feminist thought. Amidst the AIDS crisis in the 1990s, Stathacos’ work became deeply engaged with body politics, and her commentary on issues of sexuality and gender became more pronounced. Through her work, Stathacos was creating images and experiences that connect issues of body, environment, and futurity. The works included in this presentation represent this pivotal moment in the artist’s practice. In the 1990s, Stathacos developed an artistic alter ego named Anne de Cybelle, who was enraged by the exclusion of women artists in the art historical canon. Cybelle was part self-portrait, part activist, and asked questions about how we see art history, conventional time, identity, and patriarchal social conventions. The canvas works included in this presentation are a result of this critical inquiry. Stathacos printed on her surfaces using intimate materials such as hair, clothing, condoms; and organic materials such as ivy, cannabis, and roses. Through her careful and repeated patterning she critically reflects on a history of vulnerability and loss, and transforms its remnants into poetic compositions that reflect on spiritual imagery. This presentation for Art Basel also includes Stathacos’ major interactive work 1-900-Mirror-Mirror (1993). This sculptural installation was made during the height of the AIDS crisis when Stathacos was living in New York, and was first exhibited at Andrea Rosen Gallery the year it was made. Grappling with the deaths of many friends and colleagues, Stathacos conceived of the work to discover what viewers might ask when confronted with their own image in an infinity chamber. Using a video phone, the artist would speak with viewers as they entered the booth and conduct tarot readings in order to create a space where people could ask questions about the future. The mirrored walls were meticulously printed on with hair and ivy, and exemplify the interconnected interests of Stathacos’ practice. In Conversation With Chrysanne Stathacos Friday, October 30, 2020, 2pm To join the Zoom meeting click here Meeting ID: 845 8934 1606 For more information about Chrysanne Stathacos please contact the gallery: info@coopercolegallery.com +1.416.531.8000 Chrysanne Stathacos(b. 1951, Buffalo, USA) is a multidisciplinary artist of Greek, American and Canadian origin. She studied fine art at the Cleveland Institute of Art, Cleveland, USA (1969-1970); at York University, Toronto, Canada (1970-1973). 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. Stathacos is widely known for her public interactive artworks which include 1-900 Mirror Mirror (1993) which was first presented at Andrea Rosen Gallery and traveled to Art Metropole, Toronto and Franklin Furnace, New York. The artist’s multidisciplinary practice includes performances—one of which was included in the public program of The Parliament of Bodies in documenta 14 — as well as paintings and prints that have been featured in numerous exhibitions including Gold Rush at Cooper Cole, Toronto (2018). Recently, she created performative installations from her Rose Mirror Mandala Series for exhibition projects 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 latest major work, The Five Mirrors of the World, was included in the 2nd edition of The Sculpture Park, The Madhavendra Palace, Nahargarh Fort, Jaipur ( 2018- 2020) curated by Peter Nagy. Stathacos has exhibited for over 40 years in museums, galleries and public spaces internationally. She will be included in the 13th Gwangju Biennale Minds Rising, Spirits Tuning directed by Defne Ayas and Natasha Ginwala in 2021. Solo exhibitions and projects include A Space (1978), Mercer Union (1980), Chromazone (1982), Art Metropole (1995), and Gallery TPW (1997), The Power Plant Contemporary Art Gallery, (1999), all in Toronto, Canada; University of the Arts, Philadelphia, (1995), Creative Time, New York (1997), Participant Inc., New York (2004), Galerie Heike Strelow, Frankfurt (2008), The Breeder Gallery, Athens (2017) and Situations, New York, (2018). She has been included by numerous institutions in group exhibitions including the ICA, Boston (1993), PS1, New York (1997), Centre d’Art Contemporain, Geneva, (1997) Ludwig Forum Museum, Aachen, Germany(1999), Candy Factory, Yokahama Triennial, Japan, (2001), National Gallery of Canada, Ottawa (2006), Art Omi, Hudson, NY (2008)), Nuit Blanche, Toronto (2011). Her works are included in public collections including the Albright-Knox Art Gallery, Buffalo; the Art Gallery of Greater Victoria, Victoria; Burchfield Penny Art Center, Buffalo; Fales Library, NYU; Moving Collection, AIT Hour Museum, Tokyo; Art Gallery of Ontario, and National Gallery of Canada, Ottawa. The Chrysanne Stathacos fonds is located in the Archives and Library, National Gallery of Canada, Ottawa. Stathacos currently lives and works between Athens, Greece and Toronto, Canada. Image: Rose Hair I, 1993-1994 Oil and ink on linen, printed hair and roses 48 x 28 in 121.9 x 71.1 cm CURRENT EXHIBITION Tau Lewis Triumphant Alliance of the Ubiquitous Blossoms of Incarnate Souls October 17 - November 28, 2020 Click here to view select works and images of the installation. COOPER COLE 1134 Dupont St. Toronto, Ontario M6H2A2 Canada info@coopercolegallery.com +1.416.531.8000 coopercolegallery.com #coopercole#artbaselovr#fineartmagazine

Take a look and compare the two artists here/ let me know what you think. Eduardo Arroyo and Jessie Harris

I opened my mail to select the posted material for the day and happened upon repetitive styles of imagery offered by two differing galleries. Eduardo Arroyo's composition revisits the Advent Gard through the Paris School. Jesse Harris cites  Roland Barthes, twentieth-century art theorists, conceptually within her text to explain the use of her derivative imagery. The application of Barthes theory won't fix a lack of composition and the flat dimensionality within the style offered. 

                                                                                                             Jamie Ellin Forbes 2/12/2019

Eduardo Arroyo and the Paris School are the stars at LA SUITE 

-On the 14th February six paintings by the famous Spanish artist and others by various representatives of the Paris School will be on sale, as well as a large collection of netsukes 

February 2019 

The first auction of the year at LA SUITE focuses on one of the two specialities of the Barcelona auction house: 20th century art. “After months of selection, we can present paintings by Spanish artists who relocated to Paris in the first half of the 20th century, attracted by the avant-garde. They formed a heterogeneous group which came together with Picasso at its centre, and which was known as the Paris School,” the director of LA SUITE, Beatriz du Breuil, affirms. An outstanding lot from among the 195 which will come under the hammer on Thursday 14th February is Camel, by the recently deceased genius Eduardo Arroyo (1937-2018); it is lot 52, a collage signed in 1986 measuring 38 x 54 cm. There are five more works of art by the Madrid-born artist in the auction, such as lot 3, Fausto, mixed media and collage on paper, also signed and dated (this one in 1989), measuring 47 x 41 cm., as well as two engravings and a xylography.

Other Paris School artworks which will appear in the auction are a marvellous oil painting on canvas by Hernando Viñes (1904-1993) signed and dated in 1930 (81 x 65 cm.), a still life by the Malaga-born artist Joaquín Peinado (1898-1975) from 1958 (38 x 61 cm.) a delicate watercolour by Pere Pruna (1904-1977) depicting three women and dated in 1925 as well as Paysanne an expressive canvas by Antoni Clavé (1913-2005) signed (circa 1946, 81 x 65 cm.) which was originally exhibited in the Parisian Galerie Delpierre.

A large collection of Murano glass will also be up for auction, including vases and lamps by artists such as Vittorio Zecchin, Fulvio Bianconi for Venini, Ercole Barovier, Archimede Seguso, Licio Zanetti, Flavio Poli, Carlo Scarpa, Gino Cenedese and Vittorio Rigattieri. 

Also, for collectors of netsukes, a second selection is on offer from a large private collection.  There are also Art Nouveau and Art Deco objects and furniture. 

It is well worth coming to see the exhibition in our gallery; Erick, our window dressing artist, has created a magical entrance-way, full of different coloured lamps, glass vases, and a bar by the French cabinet maker Jules Leleu. Unmissable.

Buyer´s premium is 26,62% (including VAT).

Exhibition: Until 14th February.

From Monday to Friday: From 10am to 2pm and from 4.30pm to 8pm.

Saturdays: From 10am to 2pm and from 5pm to 8pm.

Conde de Salvatierra, 8. 08006, Barcelona

www.suitesubastas.com

www.facebook.com/LaSuiteSubastas

Twitter: @suitesubastas 

Instagram: @lasuitesubastas  

Jesse Harris Ad Nauseam February 16 - March 23, 2019 Opening reception: Saturday February 16th, 4-7pm  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, et alia, et cetera, ad nauseam. The following texts are written by Jenine Marsh. Jesse Harris (1)  Nothing new is happening here. It’s a doorless hallway of parallel mirrors, an endless regression where nothing is singular, and everything, even the shadows, even the reflections, are for sale. All these fruitless desires are haunted by the spectral original, the phantom of the opera, the specter of the spectacle. But in this vision, there can be no difference between ghosts and actors. Like food that’s been over-processed, boiled and sterilized, filled with fillers, chemical preservatives, fake flavors and dyes, nothing remains that can be called original, real or authentic. The copy of a copy of a copy slips like beads of oil from one economy to the next. Money is simply rejection 1. Fantasy is the only possible product. Through the 1980s, media shifted from analog to digital, advertisements switched from painting to photography, and markets became more global. These shifts ran parallel to my own developmental and transitional years, and trained in me an anxious expectation for rapid redundancy, not only of products, media platforms and devices, but of my own self images. Known through ever-changing desires, the concept of an authentic self becomes a series of willful hallucinations. A consumer is as faceless as the illustrator, as nameless as the counterfeiter, as unreal as a ghost. All the consumed and repressed images stand to fortify an insubstantial interior; a house of dirty mirrors.  Desire, like spice, is the essential ingredient, and a currency all its own. I was a thirsty little suburban sponge, and in the course of sopping up countless heavy-with-gloss magazines and two-minute commercial breaks, my unconscious mind was flooded by a thousand little addictions. Brainwashed is the word. But this sounds so clean and empty. It was more like a subliminal and thorough brain-staining. Not being a rich-enough kid meant that the ads themselves had to satisfy. And they did, in the way that junk food both feeds and triggers desire without nourishment.  Ads were feasted over, torn from magazines, tacked to walls, savored. The best ones used the theatrical frontality of pantomime and trompe l’oeil to shimmer enticingly as mirages on the page or screen or sign - they look so real. But each devoured image is a still-life painting of yesterday’s banquet, whose imported delicacies were manufactured to cause salivation, not satisfaction. The fruit is painted, cloned meat is already dead, and only sand and cadmium hit the mouth.  Though already slightly dulled by time’s greasy dust, reflected in the sheen of these images is still an unmistakable likeness. I am what I ate. Someday, once their ghostly shimmer has dried up into the sterile hieroglyphs of a long-dead world, they might be used to chart our dogged progress down the drain, to map out the edge where this world finally ended. But now, in the acid vat of the mind, they float to the surface like oil’s Technicolor skin on water, suffocating what it covers. This stain can’t ever be washed or spit out. So swallow it down into the draining SSSSSSSHHHHHHHHHHHHH of TV static. #fineartmagazine

SHANGRI-LOST Jesse Harris Shawn Kuruneru Jimmy Limit April 8 - May 8, 2016 Cooper Cole Gallery

SHANGRI-LOST
Jesse Harris
Shawn Kuruneru
Jimmy Limit

April 8 - May 8, 2016

CLOSING
Bjorn Copeland
Georgia Dickie

March 18 - April 16, 2016

A curated project at: 

Et al etc.
1275 Minnesota St., San Francisco, USA.
For additional information please contact the gallery:

info@coopercolegallery.com
+1.416.531.8000

#fineartmagazine

COOPER COLE will be at NADA Miami Beach, Miami, USA December 3 – December 5, 2015

ARTIST AND GALLERY NEWS BJORN COPELAND Recent solo exhibition at Various Small Fires, Los Angeles, USA SARA CWYNAR Inclusion in Greater New York at MoMA PS1, New York, USA October 11, 2015 - March 7, 2016 MARK DELONG Inclusion in Suprise Phone Call at 247365, New York, USA October 16 – November 8, 2015 OWEN KYDD Finalist for the Aimia | AGO Photography Prize, Art Gallery of Ontario, Toronto, Canada September 9, 2015 - January 3, 2016 ANDREA PINHEIRO Inclusion in Camera Atomica, curated by John O'Brian at The Art Gallery of Ontario, Toronto, Canada July 8 - November 15, 2015 LAUREN LULOFF Recent solo exhibition at Annarumma Gallery, Naples, Italy VANESSA MALTESE Commission for RBC Water Park Place, Toronto, Canada subject to change, 2015, Powder coated aluminum, 96" x 234", 243.84cm x 594.36cm JENINE MARSH Upcoming solo exhibition at Lulu, Mexico City, Mexico November 28, 2015 – January 31, 2016 Inclusion in Mrs. Benway at Fourteen30, Portland, USA September 19 – Novemer 15, 2015 RYAN WALLACE Upcoming exhibition at Gerhard Hofland, Amsterdam, Netherlands November 14, 2015 – January 30, 2016 Recent solo exhibition at Romer Young, San Francisco, USA NADA MIAMI BEACH COOPER COLE will be at NADA Miami Beach, Miami, USA December 3 – December 5, 2015 Exhibiting works by Bjorn Copeland, Sara Cwynar, and Jesse Harris.

Cooper Cole : Hotter than the 24th of July

UPCOMING: HOTTER THAN JULY 24TH Hotter Than July 24th Zoe Barcza Alfred Boman Mark DeLong Jay Isaac Tiziana La Melia Sojourner Truth Parsons July 24 - September 12, 2015 Opening Reception: Friday July 24, 2015 / 6 – 8pm For additional information please contact the gallery: info@coopercolegallery.com +1.416.531.8000 Henry and Henrietta brought a dozen eggs from the tree bearing strange fruits Now why does this tree have eggs not blossoms Henrietta bounced like a floppy flower in heat Down the road by the flat green wet shape They cracked one by one each egg into a Sun spot hotter than July We are so famished The milky egg spun much potential Henrietta bounced and bounced The year two women gave birth to a small man - Sojourner Truth Parsons Mark DeLong, Chuck La Tour, 2015, Cardboard, fabric, thread and tape on shoe, Dimensions variable  Zoe Barcza (b. 1984, Toronto, Canada) received her MFA at HFBK Städelschule in Frankfurt, Germany and her BA at the University of Toronto, Canada. Her work has been exhibited internationally at such galleries as Shoot The Lobster, New York, NY; Loyal Gallery, Isbrytaren, Stockholm, Sweden; Polansky Gallery, Prague, Czech Republic; ICA, Halifax, Nova Scotia; and Art Metropole, Toronto, Canada. Barcza currently lives and works in Stockholm, Sweden. Alfred Boman (b. 1981, Luleå, Sweden) received his MFA at HFBK Städelschule in Frankfurt, Germany and studied Art History and Fine Arts at the University of Gothenburg, Sweden. His work has been exhibited internationally at such galleries as Prism, Los Angeles, USA; Johan Berggren Gallery, Malmö, Sweden; Fluxia, Milan, Italy; Union Pacific, London, UK; and Ibid Projects/Gallery Exit, Hong Kong. Boman currently lives and works in Stockholm, Sweden. Mark DeLong (b. 1978, New Brunswick, Canada) is a self-taught artist. His work has been displayed at Colette, Paris, France; Abel Neue Kunst Gallery, Berlin, Germany; Perugi Art Contemporenea, Padova, Italy; Museum Of Contemporary Canadian Art, COOPER COLE, Toronto, Canada; ACME, Los Angeles; Spencer-Brownstone Gallery, Ed. Varie, Little Cakes, New York; Halsey McKay, East Hampton, USA. DeLong currently lives and works in Vancouver, Canada. Jay Isaac (b. 1975, New Brunswick, Canada) studied at the Emily Carr Institute of Art and Design, Vancouver, Canada and the Cardiff Institute of Art and Design, Cardiff, Wales, UK. His work has been widely exhibited, with notable shows at Galleria d'art moderna di Bologna, Italy; Beaverbrook Art Gallery, Fredericton, NB; Contemporary Art Gallery, Vancouver; Agnes Etherington Art Center, Kingston; Monte Clark Gallery, Vancouver; Mercer Union, Museum of Contemporary Canadian Art, The Art Gallery of Ontario and The Power Plant, Toronto, Canada. Isaac currently lives and works in Toronto, Canada. Tiziana La Melia (b.1982, Palermo, Italy) received her MFA at the University of Guelph and her BFA at the Emily Carr Institute of Art and Design, Vancouver. La Melia was the national winner of the 2014 RBC painting competition. She has exhibited at Magasin 3, Stockholm, Sweden; François Ghebaly Gallery, Los Angeles, USA; CSA Projects, The Apartment, Vancouver; and Mercer Union, COOPER COLE, Toronto, Canada. La Melia currently lives and works in Vancouver, Canada. Sojourner Truth Parsons (b. 1984, Vancouver, Canada) received her BFA from The Nova Scotia College of Art and Design. Last year she was awarded the Canada Council for the Arts Residency grant to attend Santa Fe Institute for the arts. She has exhibited at Phil Gallery, Los Angeles; Night Gallery, San Francisco; and Mulherin, Asya Geisberg, New York, USA; Jessica Bradley Gallery, COOPER COLE, Toronto; and Oakville Galleries, Oakville, Canada. Parsons currently lives and works in Toronto, Canada.

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COOPER COLE - INSTALLATION: BRAD TINMOUTH

COOPER COLE

INSTALLATION: BRAD TINMOUTH

Brad Tinmouth
August 23 - September 9, 2013

Curated by Lucas Soi

Closing reception: Saturday September 7, 2013, 3 - 6pm

COOPER COLE
777 Richmond Street West, 2nd Floor
Monday, Friday, and Saturday: 12pm - 4pm and by appointment.

Installation images from Brad Tinmouth's current exhibition are now online.