by Haafiz Karim
Georgia Scherman Projects Gallery
October 20 – November 26, 2011
It is not the technical skills of encaustic, that captures the viewers interest but rather the exploration of a narrative based on the October Crisis
by Jonathan Valelley
PENTIMENTO FINE ART GALLERY
October 28 – November 27, 2011
“I have always loved loud women,” says painter Troy Brooks, women who are authoritative, dynamic, bold,
by Miriam Arbus
But, while the unruly crowd lends a feeling of the carnivalesque, this level of attendance at an arts-based event is inimitable.
by Amanda Pignotti
BLACKWOOD GALLERY
September 14 – October 23, 2011
Viva Voce is a Latin term for “with the living voice,” a powerful and appropriate title.
by Emese Krunák-Hajagos
Art Gallery of Ontario
May 28 – September 4, 2011
what made that time unique was a capacity of artists to engage with a cosmic quest, a spiritual quest to find meaning. A total commitment on the artists’ side so painting was the only thing that mattered there was no separation between the self and the art work, that’s why the paintings feel like living things.”
by Ashley Johnson
July 29 – 31, 2011
Meaford, Ontario
This festival was not just about sound and included a number of interesting art installations, some malevolent robots, 3-D video and DJ-ing in the tent. There was a lot to see and do
by Matt Macintosh
Justina M. Barnicke Gallery (Hart House), University of Toronto
What I found particularly admirable is Schmidt’s ability to effect a transformation in attention toward the mundane. What, thankfully, is not purged is, as the exhibition’s title may suggest, an invitation toward attentive light-heartedness—something equally worth bringing to the church or the arena.
by Phil Anderson
“…If we give an artist an opportunity, new types of debate, inspiration and thinking will often occur when the artist leaves the studio to engage the public sphere…” said Keeler.
Chris Shoust: Communicating with the Mentally Ill
by Phil Anderson
Many of the works are colourful and pleasing to look at, occasionally using layers and mixing up the media at while others are more graphically disturbing. Shoust displays his talent at putting together these graphic images and colour works.
by Phil Anderson
“A couple of things such as the number of artists that take part in the show and the number and variety of works that are exhibited in one room. Once all the artwork in hung it actually starts to look like one big art piece which is the installation itself.”, said Basin
by Ashley Johnson
A sign of cultural maturity in developed societies is the wholehearted support and celebration of its artists. Their contribution is recognized as ‘cultural capital’, to be nurtured and exported, whether as art objects or social ideas. Value is attached and upheld by institutions that generate knowledge and shows about that product.
by Phil Anderson
Upon meeting with documentary photographer , Vincenzo Pietropaolo at Toronto‘s De Luca Fine Art/Gallery, on Queen St. West, he explained of how he captured images of the Italian community as a young boy, an immigrant child. The camera allowed him access to another world. As a young man he played pool in a then local pool hall which is now part of a trendier world for visitors to the neighbourhood.
