TORONTO BIENNIAL OF ART moves on to EMERGING ARTIST Toronto’s citywide art event is on view through June 5, 2022

TORONTO BIENNIAL OF ART ANNOUNCED TWO PRIZES AT THE OPENING  OF ITS SECOND EDITION RECOGNIZING AN OUTSTANDING CONTRIBUTOR AND AN EMERGING ARTIST Toronto’s citywide art event is on view through June 5, 2022

Toronto, Canada, March 29, 2022…The Toronto Biennial of Art (the Biennial/TBA) announced on March 25, during the opening celebration for its second edition, that Camille Turner is the recipient of its Artist Prize, recognizing an artist’s outstanding contribution to the Biennial, and Aycoobo / Wilson Rodríguez is the recipient of the Emerging Artist Prize acknowledging a promising, early-career Biennial artist. Each prize includes a $10,000 (CAD) award. Awardees participating in the 2022 Biennial, What Water Knows, The Land Remembers, were selected by a distinguished jury that included: Michelle Jacques, Chief Curator, Remai Modern, Saskatoon, Saskatchewan; Dr. Julie Nagam, Artistic Director of Nuit Blanche 2020 and 2022, Toronto, Ontario; and Canadian artist Lisa Steele, an innovator in video art, educator, curator, and co-founder of Vtape in Toronto, Ontario.

“We are pleased to recognize the inspiring work of our prize recipients, and hope this support helps them further develop their already impactful practices. We are also grateful to the jury for their thoughtful consideration and to our visionary patrons for their exceptional support,” said Biennial Executive Director Patrizia Libralato.  The Artist Prizes were generously supported by the Hal Jackman Foundation, Eleanor and Francis Shen, the DH Gales Family Foundation, David and Dawn Beswick, Jay Smith and Laura Rapp and the J.P. Bickell Foundation. Accommodations for jurors were generously supported by The Drake Hotel. “With such a broad range of artists from so many different locations, the prizes offered by the Toronto Biennial of Art are important to identify works that resonate profoundly,” said juror Lisa Steele. “For me, that means they are deeply engaging in terms of content, are beautifully crafted – and come from the heart of the artist, because it is this openness and vulnerability that speak most directly to me.”

About the Toronto Biennial of Art Artist Prize recipient

Canadian artist Camille Turner (born in 1960, Kingston, Jamaica; lives in Los Angeles, USA) explores themes related to race, space, home, and belonging. Her work combines Afrofuturism and historical research. In her Biennial immersive multimedia installation Nave (2022), Turner reveals the entanglement of colonial Canada in the transatlantic trade of enslaved Africans through links between the nave of a church, the hold of the ship, the tomb, and the womb of the world. In this Biennial-commissioned artwork, a time traveller from the future Age of Awakening—performed by the artist—visits a church in the Age of Silence, circa 2021, to perform a ritual connecting with ancestors of the past.Nave situates the viewer within the context of memory embodied by the ocean.  At an opening event on March 25, Turner said ''I am so thrilled to be the recipient of this prize! This artwork is dedicated to ancestors known and unknown and I want to thank my amazing dream team: Editor Chris Wiseman, Cinematographer Esery Mondesir assisted by Andrew Osei, Cody Westman who shot the footage in Newfoundland, Performer Emilie Jabouin, Makeup Artist Kristen Gallacher, and Production Manager Roxanne Fernandes. Many thanks to the Biennial for the opportunity to unfurl this vision.” “In experiencing Nave, the deep trauma of the transatlantic slave trade is conveyed through the visuals of the ship as both womb and tomb, container of bodies and souls. But this trauma is transformed into redemption and peace through the beauty of both the gently lapping waves themselves and the tranquility of the church interior, as seen on the transformed face of Camille herself. This three-channel video installation encourages the viewer to enter and be immersed, with the work enveloping the viewer and the audio seeping into one’s consciousness so effortlessly, as one moves back in time and forward in hope,” said Steele.

About the Toronto Biennial of Emerging Artist Prize recipient Aycoobo (Nonuya, born in 1967, La Chorrera, Colombia; lives in Bogotá, Colombia), also known as Wilson Rodríguez, carries forth botanical knowledge from the Amazon jungle of Colombia transmitted by his father, Abel, and his ancestors. His artistic practice embraces the relationship between humans and the invisible world and the use of medicinal plants to expand perception. For Aycoobo, art is a way to honour his ancient roots and his life as an individual in the contemporary world. His works on paper, featured in both the 2019 and 2022 Biennial, offer depictions of his lived experience ranging from Nonuya creation stories to the Amazon calendar of micro-seasons.

“While looking at the mesmerizing paintings of Aycoobo / Wilson Rodriguez, I was immersed in the feeling of greenness — a green that is only experienced in the midst of a dense jungle such as those he depicts. The sense of careful observation, with each leaf and branch fully articulated, make these paintings work as sheltering spaces, with the plants, trees, and shrubs implicated in the expansion of our perception through his eyes,” said Steele. In addition to the juried Artist Prizes just announced, the Biennial is introducing two additional prizes to be presented in June 2022. The new prizes will be awarded via an online voting platform, acknowledging projects that inspire audiences and connect communities. The Audience Artist Prize will recognize an outstanding artistic contribution to the Biennial Exhibition as selected by a public vote, while the Programs Prize will recognize an outstanding contribution made by an artist, educator, workshop facilitator, mentor, community builder and/or advocate participating in the Biennial’s extensive schedule of free public programs.

TBA Donors and Supporters The Toronto Biennial of Art is grateful to all 2022 contributing donors for their generous support. Major funders to-date include: The Pierre Lassonde Family Foundation; Scotia Wealth Management; The Michael and Sonja Koerner Charitable Foundation; RBC Foundation; Polar Foundation; Menkes Developments; Castlepoint Numa; Michelle Koerner & Kevin Doyle; Kilmer Mattamy Tricon; Newpoint Developments Inc.; the Delaney Family Foundation; The Rossy Foundation; Age of Union Alliance; The Jack Weinbaum Family Foundation; TD Bank Group; Partners in Art; Hal Jackman Foundation; The Donald R. Sobey Family Foundation; Woodbridge Investments Corporation; Ron Kimel and Family; Miranda Hubbs; Nutrien; Yamana Gold Inc.; Waterfront BIA; Waterfront Toronto; Stratus Vineyards; Teknion Corporation; the Daniels Corporation with W.J. Properties; and Eleanor and Francis Shen. Much gratitude and thanks to our many other generous donors, including our Founding Supporters.  TBA is also grateful for our government supporters: Government of Canada; Government of Ontario; City of Toronto; Canada Council for the Arts; Ontario Cultural Attractions Fund of the Government of Ontario through the Ministry of Heritage, Sport, Tourism and Culture Industries, administered by the Ontario Cultural Attractions Fund Corporation; ArtworxTO: Toronto’s Year of Public Art 2021- 2022; Ontario Arts Council; Social Sciences and Humanities Research Council; the Toronto Arts Council; City of Mississauga; the Institut Français, French Consulate in Toronto, with the support of the Consulate General of France in Toronto; Japan Foundation; SAHA Association; and the Council for Canadian American Relations. TBA acknowledges the support of our media partners to-date: Akimbo; blogTO, Cineplex Media; NOW Magazine; Pattison Outdoor Advertising; St. Joseph Communications; Toronto Star; West End Phoenix; the Toronto Transit Commission; and Yonge-Dundas Square. About the Toronto Biennial of Art The Toronto Biennial of Art is Canada’s leading visual arts event focused exclusively on contemporary art from around the world. For 10 weeks every two years, local, national, and international Biennial artists transform Toronto and its partner regions with free exhibitions, performances, and learning opportunities. Grounded in diverse local contexts, the Biennial’s city-wide programming aims to inspire individuals, engage communities, and contribute to global conversations. The Toronto Biennial of Art launched in 2019 and was a popular and critical success. The Biennial provides expanded understandings of contemporary art practices and is building a legacy of free, inclusive, and accessible contemporary arts programming in Toronto, Mississauga, and their surrounding communities.  For more information, visit: torontobiennial.org, @torontobiennial, and #TOBiennial22 on Facebook, Twitter, and Instagram. #torontobiennial#fineartmagazine#artfuntoronto

Heide Contemporary Art Haptic Codes Varvara Keidan Shavrova Susan Stockwell, 31st March to 30th April 2022

Heide Contemporary Art Haptic Codes Varvara Keidan Shavrova Susan Stockwell

Private view: Wednesday 30th March 6–9 pm Exhibition dates: 31st March to 30th April 2022

Susan Stockwell, Truth and Consequences (detail), shopping trolley, world globe maps, electrical cable, plugs, 100×120×60cm, 2020. Photograph by Jonathan Turner

Varvara Keidan Shavrova, The Palace of the Soviets and King Kong, digital knitting, hand stitching and embroidery, 130×225cm, 2020

#heidecontomporaryart#fineartmagazine#artfun

Reena Spaulings Fine Art Josephine Pryde, April 3-May 8, 2022

Josephine Pryde

Taylor Swift's 'Lover' & the Gastric Flu

April 3 - May 8, 2022

Opening Sunday, April 3
3 - 7pm

@

RSFA, NY


 

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Ei Arakawa
Get Back/Get Out (performance)
April 9, 2pm-6pm
Reena Spaulings Los Angeles

news:

Loretta Fahrenholz
Gap Years
April 19 - June, 26
Kölnischer Kunstverein, Cologne

Juliana Huxtable
LiveInYourHead (performance with Joe Rinaldo Heffernan)
April 1, 6pm
HEAD, Geneva

Jutta Koether
Artist's talk with Sabeth Buchmann
April 2, 4pm
K20, Dusseldorf

Klara Liden
Found Cities, Lost Objects: Women in the City (group)
May 14 - September 4
Birmingham Museum & Art Gallery, Birmingham, UK

Georgie Nettell
Every lie has an audience (group)
organized by Attilia Fattori Franchini and Felix Gaudlitz
April 2 - May 6
Marsell via Paullo, Milan

Ken Okiishi
A Model Childhood
September 20, 2021 - May 5, 2022
University of Hawai'i, Honolulu




 

 

#reenaspaulings,#fineartmagazine#artfun

Lowell Ryan Projects Linda Stojak" t’s ok to do nothing" April 2 - May 7, 2022.

Linda Stojak It’s ok to do nothing April 2 - May 7, 2022   Opening Reception: Saturday April 2, 2-6pm 4619 W Washington Blvd. Los Angeles, CA 90016

Linda Stojak Untitled: Sitting Figure with Blue Lines, 2021 Oil on canvas 36h x 48w inches

Lowell Ryan Projects is pleased to present a solo exhibition of new works by Philadelphia-based artist Linda Stojak titled It’s ok to do nothing. The exhibition consists of a series of paintings of solitary female figures that exist in an ambiguous space between identity and anonymity. While personal in nature, these works allow for a range of interpretation and emotional response. This is Stojak’s first exhibition in Los Angeles and with the gallery.   Stojak’s works conjure a feeling of remembrance and the uncertainty that can come when time has passed—layers of memory that shift with a perspective that only age and time can bring. The paintings in the exhibition are enigmatic renderings of women, lushly executed and textured by the build up of paint—methodical applications with the palette knife, layers of washes, and considered brushstrokes. A kind of burnishing effect emerges that creates a luminous glow in the surfaces. Each painting provides a journey for the viewer, but within the realm of this expressionist figurative painter there is also the emergence of a portrait—unfinished, evolving and transforming. Stojak’s figures are often incomplete in nature. The eyes, or often the whole face, smudged or blurred creating a feeling of recalling the memory of a loved one, while the shape of the hair, the color of lipstick or gesture of the body remain—a floating image or “stillness” as Stojak says. “These paintings deal with moments in time where you cannot move forward and you cannot move backward.” The figures read less as individuals, but instead as timeless memories that hover on the canvas like ghosts.   As Stojak discusses, “I scrape and scar the canvas not in order for it to look a particular way, but in order to work through the ideas. I change the image, the color…anything that is keeping me from finding something that is of personal importance in the work. This inadvertently leads to this layering of paint. I can paint with intensity, but then need to calm it all down…calm all that anxiety down. For example, there are many drips in the paintings, which I let happen while I paint, but then I go back and control them. I make specific decisions about which stay and which should be painted over so I control the emotion in the work. I think these are emotional paintings, but I need to be concise.”

With a successful career spanning more than three decades, Linda Stojak paints solitary figures captured in their pictorial plane, obsessively worked and reworked until the paint itself becomes at one with a search for meaning. The technique is both thoughtful and gestural. In Stojak’s paintings, the expressionistic is played against the conceptual reflecting a synthesis of emotions, fears, conflicts, doubts, and experiences that comprise the human condition. Linda Stojak has been awarded a Guggenheim fellowship, a Leeway Grant, a Distinguished Achievement Award from Arcadia University, and a residency in Toblach, Italy. Her work has been reviewed and discussed in numerous publications including The New York Times, Artforum, Riot Material, Art in America and ARTnews. Her work is represented in over 300 private collections as well as in public collections such as The University of Pennsylvania, Brown University, Seattle University, and The Harn Museum of Art. Linda Stojak (b. 1955) received her Masters in Fine Art from Pratt University and lives and works in Philadelphia, PA. For more information please contact: info@lowellryanprojects.com #lowellryanprojects # fineartmagazine#artfun

Catch the Houston Art Gallery Association Spring Art Celebration 2022.

HOUSTON ART GALLERY ASSOCIATION  SPRING ART GALLERY CELEBRATION 2022   Friday, May 13, 6pm - 8pm  Saturday, May 14, 12pm - 5pm  Sunday, May 15, 12pm - 5pm  Houston is a vibrant and exciting international city, rich in arts and culture that is also proud of its diversity. Please join the Houston Art Gallery Association (HAGA) for our city-wide inaugural Spring Art Gallery Celebration on Friday, May 13th from 6pm to 8pm, Saturday, May 14th from 12pm to 5pm, and Sunday, May 15th from 12pm to 5pm.  HAGA is composed of some of the finest art galleries in Houston, each with their own distinct programing, representing some of the most outstanding artists in Texas and around the world. We invite you to explore the visual arts of Houston.  The member galleries are Anya Tish Gallery, Bill Arning Exhibitions, Bisong Art Gallery, Catherine Couturier Gallery, Deborah Colton Gallery, Dimmitt Contemporary Art, ELLIO Fine Art, Foltz Fine Art, Foto Relevance, G Contemporary Art Space, Gallery Sonja Roesch, Heidi Vaughan Fine Art, Jack Meier Gallery, Laura Rathe Fine Art, McClain Gallery, Nancy Littlejohn Fine Art, Redbud Gallery, Sicardi | Ayers | Bacino, The Grogan Gallery, and Thornwood Gallery.  Admission is free and open to the public. Refreshments will be served. Some member galleries have extended days and hours for the event. Please visit our website for details and to find out more information about each of our member galleries: www.artgallerieshouston.com. Our vision is to promote Houston as a destination for the arts. HAGA is a nonprofit organization.  Image credit: Artist Janavi Mahimtura Folmsbee, Courtesy of Heidi Vaughan Fine Art  .

phone: 713-869-5151 www.deborahcotlongallery.com 2445 North Boulevard, Houston, Texas 77098 #houstonartgalleycelebration#fineartmagazine#artfun

One of my favorite artists: Alfredo Ramos Martinez, Works on Paper 3/12-2/23, 2022 at the Louis Stern Fine Arts Gallery

Alfredo Ramos Martínez (1871-1946) La Malinche, c. 1943  tempera on newsprint  (El Universal, May 25, 1943) 23 x 18 inches;  58.4 x 45.7 centimeters View Exhibition Louis Stern Fine Arts is pleased to present a selection of works on paper by Alfredo Ramos Martínez (1871–1946). Considered by many to be the founding father of Mexican Modernism, Ramos Martínez was a prolific painter and muralist as well as an innovative teacher who counted David Alfaro Siqueiros amongst his students. Though subtler and more subdued than many of his contemporaries, such as the passionately political Mexican Muralists Siqueiros, Diego Rivera, and José Clemente Orozco, Ramos Martínez nonetheless quietly captured the complexities of his native Mexico in the years after the Mexican Revolution. Please join us for an Open House from 11AM - 5PM on Saturday, March 12.  For the safety of our staff and patrons, we ask that all guests wear a face mask while in the gallery, regardless of vaccination status.   Louis Stern Fine Arts 9002 Melrose Avenue West Hollywood, CA  90069 Contact 310-276-0147 info@louissternfinearts.com  www.louissternfinearts.com Follow us on Instagram (@louissternfinearts) and Twitter (@lsternfinearts) for updates and additional material. #louissternfinearts#fineartmagazine#alfredoramosmartinez

American Moderns continues at the Gerald Peters Gallery

#geraldpertersgallery#fineartmagazine#americanmoderns

The McEvoy Foundation for the Arts sponsors the Multimedia Exhibition Explores the Vastness of Time Through Scientific Fact and Speculative Fiction

MYR
May 27 – August 27, 2022
 
Multimedia Exhibition Explores the Vastness of Time 
Through Scientific Fact and Speculative Fiction


Katie Paterson, The Cosmic Spectrum, 2019. Courtesy of the artist and James Cohan, New York.
 
Opening Reception 
Saturday, June 4, 5–7pm

 
SAN FRANCISCO, CA, March 01, 2022 — McEvoy Foundation for the Arts is pleased to announce the upcoming spring opening of MYR, an exhibition of multi-media sensorial artworks exploring the impact of humans on the planet, nature, and climate change. Featuring an international selection of artists, the exhibition considers the concept of deep time in relation to both past and future human hazards, anxieties, and potential survival through a range of creative viewpoints informed by science and technology.
 
Guest curated by Elizabeth Thomas, MYR borrows its title from the commonly used abbreviation in earth sciences and astrology for a unit of measurement equaling a million years. Within that context, the exhibition draws particular focus on the Anthropocene epoch, the period in which human industrialized activity has been the dominant influence on climate and the environment. Through immersive works, moving images, and animated and interactive sculpture, scientific fact and speculative fiction compel consideration of such theories and concepts including augmentation of human emotions through biological intervention, future study of humanity’s physical remains, and the perception of non-linear time.
 
Thomas notes, “The vastness of geologic time stretching backwards remains an abstract truth, while its reach into the future is increasingly apocalyptic as humans confront the climate crisis. To imagine the millions of years behind us, we must also imagine the millions that might pass after us, on earth and throughout the universe. MYR features artists who manifest the spectrum of deep time, both past and future, proving art’s power to contend with the biggest of ideas and the most abstract states.”
 
The artists featured in MYR represent several distinct approaches to the study of time, space, and life. A floating sculpture by Tomás Saraceno offers the possibility of ecological harmony through spatial unification. Speculative landscapes by Alexandra Daisy Ginsberg and Candice Lin depict scenes of abundant flora and fauna—both on and beyond Earth—that might thrive in the absence of human dominance over the environment. Heather Dewey-Hagborg utilizes video and sculpture to explore the viability of biological intervention to alter and augment human feelings and engender a version of utopia. 
 
Amy Balkin’s ongoing archival project collects what “will have been” from places around the globe that may literally disappear due to forces of climate change, including sea level rise, erosion, desertification, and glacial melt. Whereas works by Katie Paterson consider how the abstract, non-linear essence of time can be perceived and portrayed through text and kinetic sculpture. MYR includes a program of films, running concurrently in the Screening Room, that further explore the exhibition’s themes.
 
“The breadth and depth of the McEvoy Family Collection,” notes McEvoy Arts executive director Susan Miller, “provides the ability to articulate upon contemporary global conversations within the visual arts and create opportunities to facilitate timely discussions and moments of personal contemplation around issues of climate change, social justice, and even speculative futures, as well as art history, language, pop-culture, and politics.” 
 
Complementing the MYR exhibition, a related series of public programs will focus on specific actions underway and further actions needed to address climate change locally and globally.
 
MYR is on view from May 27 through August 27, 2022.
A public opening reception is scheduled for Saturday, June 4, 5–7pm.
Admission to McEvoy Arts is free.
 

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Elizabeth Thomas is a Bay Area-based independent curator and writer and a Senior Lecturer in Curatorial Practice at California College of the Arts, San Francisco. She was previously Director of Public Programs at the Fine Arts Museums of San Francisco and MATRIX Curator at BAMPFA, where she considered central questions of interdisciplinarity, experimentation, and political and social engagement through commissioned research-based projects with artists. Other exhibitions she has organized include The F-Word at the Andy Warhol Museum, Pittsburgh; Empathetic at the Temple Gallery of Art, Philadelphia; and The Believers at MASS MoCA, North Adams. She holds a BA in Anthropology from George Washington University and a MA in Contemporary Art History, Theory and Practice from the School of the Art Institute of Chicago. 

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Artists

 
Amy Balkin is an American artist who studied at Stanford University and lives and works in San Francisco. Her work "combines cross-disciplinary research and social critique to generate ambitious, bold, and innovative ways of conceiving the public domain outside current legal and discursive systems."
 
Heather Dewey-Hagborg is an artist and biohacker who is interested in art as research and technological critique. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed gum) collected in public places. Dewey-Hagborg has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a Visiting Assistant Professor of Interactive Media at NYU Abu Dhabi, a Sundance Institute Interdisciplinary Program Art of Practice Fellow, an Artist-in-Residence at the Exploratorium, and an affiliate of Data & Society.
 
Dr. Alexandra Daisy Ginsberg is an artist examining our fraught relationships with nature and technology. Through artworks, writing, and curatorial projects, Ginsberg’s work explores subjects as diverse as artificial intelligence, synthetic biology, conservation, biodiversity, and evolution, as she investigates the human impulse to “better” the world. She read architecture at the University of Cambridge, was a visiting scholar at Harvard University, and received her MA in Design Interactions from the RCA.
 
Candice Lin is an interdisciplinary artist who works in installation, sculpture, drawing, ceramics, and video. Her work is multi-sensorial and often includes living and organic materials and processes. Lin lives and works in Los Angeles, California. She is an assistant professor in the Department of Art at the UCLA School of Arts and Architecture.
 
Katie Paterson is known for her multi-disciplinary and conceptually driven work with an emphasis on nature, ecology, geology, and cosmology. Collaborating with scientists and researchers across the world, Paterson’s projects consider our place on Earth in the context of geological time and change. She received her BA from Edinburgh College of Art, Edinburgh, United Kingdom in 2004 and her MFA from the Slade School of Fine Art in London, United Kingdom in 2007.
 
Tomás Saraceno is a contemporary Argentine artist whose projects—consisting of floating sculptures, international collaborations, and interactive installations—propose and engage with forms of inhabiting and sensing the environment that have been suppressed in the Capitalocene era.
 

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McEvoy Foundation for the Arts presents exhibitions and events that engage, expand, and challenge themes and ideas in the McEvoy Family Collection. Established in 2017, McEvoy Arts creates an open, intimate, and welcoming place for private contemplation and public discussion about art and culture. Rooted in the creative legacies of the San Francisco Bay Area, McEvoy Arts embodies a far-reaching vision of the McEvoy Family Collection’s potential to facilitate and engage conversations on the practice of contemporary art. McEvoy Arts invites artists, curators, and thinkers with varied perspectives to respond to the Collection. Each year, these collaborations produce exhibitions in McEvoy Arts’ gallery, new media programs in the Screening Room, as well as many film, music, literary, and performing arts events each year. Exhibitions are free and open to the public.
 

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Media Contacts:

Wendy Norris, Norris Communications
wendy@norriscommunications.biz
415.307.3853
 
Bill Proctor, director of communications, McEvoy Foundation for the Arts
bproctor@mcevoyarts.org
415.549.7684
 

 
Image Credit: Katie Paterson, The Cosmic Spectrum, 2019, spinning disk, printed vinyl, motor. Photo by Manu Palomeque. © Katie Paterson 2022. Courtesy of the artist and James Cohan, New York.
  

#mcevoyarts#katiepaterson#fineartmagazine