Earthwork Exhibition @ Art Museum at the University of Toronto - Curated by Mikinaak Migwans

Earthwork 

Alex Jacobs-Blum, Art Hunter, BUSH Gallery, Edward Poitras, Faye HeavyShield, Lisa Myers, Michael Belmore, Mike MacDonald, Protect the Tract Collective

Curated by Mikinaak Migwans 

Art Museum at the University of Toronto

September 4 – December 20, 2025

Faye HeavyShield

Clan (performance documentation), 2019 

Courtesy of Blaine Campbell

BUSH gallery 

MOMENTA 2021

Photo by Jean-Michael Seminaro 

The Art Museum at the University of Toronto presents the exhibition Earthwork, which reassesses the art historical framing of the “earthwork” popularized by the land art movement of the 1960s and ’70s, reclaiming it from an Indigenous perspective. It is curated by Mikinaak Migwans, Curator of Indigenous Contemporary Art at the Art Museum and Assistant Professor in the Department of Art History at the University of Toronto.

Works by Alex Jacobs-Blum, Art Hunter, BUSH Gallery, Edward Poitras, Faye HeavyShield, Lisa Myers, Michael Belmore, Mike MacDonald, Protect the Tract Collective

Earthwork redefines a term that until now has referred to a type of artistic practice associated within the larger conceptual framework of land art. In this exhibition, Mikinaak Migwans shifts our understanding of earthwork to refer to a way of working, rather than the making of singular objects — similar to the term “beadwork.” With a Canada-wide scope emphasizing the Great Lakes region, the exhibition takes as its starting point an understanding of ancestral earthworks less as monuments and more as sites of ongoing stewardship and care. It considers multiple layers of engagement with the land, including a history of land defense movements, medicine walks, and ancestral practices of prescribed burns, alongside contemporary artworks as creative acts of relational intervention.

“Redefining earthwork in this way helps us think about land as part of the cycles of life and death, rather than eternal monuments outside of time,” says Mikinaak Migwans. “It also helps us to see the huge labour investment that goes into maintaining relations on the land, getting away from this idea that the natural is something opposite to the human. Indigenous connections to land, especially, have been erased in colonial accounts that talk about a natural environment that is ‘virgin,’ ‘untouched,’ and in this way, unclaimed. But recent scholarship is starting to show that North America’s ecosystems were carefully cultivated and maintained by Indigenous Peoples. They’ve quite literally shaped the landscape through generations.” 

Art Hunter 

Untitled (Controlled burn at Kay-nah-chi-wah-nung mounds), 2023

Digital print

Photo courtesy of the artist

Art Hunter 

Untitled (Controlled burn at Kay-nah-chi-wah-nung mounds), 2023

Digital print

Photo courtesy of the artist

Central to the exhibition is photo and video documentation by Art Hunter of land stewardship practices at the ancestral Kay-Nah-Chi-Wah-Nung Historical Centre, a national historic site and one of the most significant places of early habitation and ceremonial burial in Canada located in northwestern Ontario. Art Hunter’s description of the Anishinaabe community’s controlled burn and other processes to maintain the site’s special ecology served as the inspiration point for Earthwork. 

Michael Belmore

drift, 2025 

Steel, wood, 2.43 m x 9 m x 4.5 m

Photo courtesy of the artist.

Michael Belmore

drift, 2025 

Steel, wood, 2.43 m x 9 m x 4.5 m

Photo courtesy of the artist

Internationally recognized artist Michael Belmore will create a new piece in his snow fence series, which will be on view from November 2025 through March 2026—following the seasonal cycle rather than the exhibition cycle. 

A new audio work by independent curator and artist Lisa Myers helps visitors think about land relations through walking and listening. 

Other featured artists are #BUSH Gallery (Gabrielle L’Hirondelle Hill, Peter Morin, Tania Willard), Alex Jacobs-Blum, Faye HeavyShield, Mike MacDonald, Edward Poitras, and Protect the Tract Collective. 

The exhibition offers visitors a printed Engagement Guide, to better connect with the works on view by sharing specific histories and information in an accessible way.

ART MUSEUM AT THE UNIVERSITY OF TORONTO

University of Toronto Art Centre

University College, 15 King’s College Circle, Toronto, Ontario M5S 3H7

artmuseum.utoronto.ca

Shelagh Keeley @ The Power Plant, Toronto - "Film Notebooks 1985-2017" Exhibition

Shelagh Keeley 

Film Notebooks 1985-2017

The Power Plant, Toronto

Through September 14, 2025

Shelagh Keeley 

Still from Jardim do Ultramar / The Colonial Garden, 

Lisbon, Portugal, 2016

Film, 180 min 

Thanks to the Museu Coleção Berardo, Lisbon, Portugal 

and ifa-Galerie Stuttgart, Germany

© Shelagh Keeley, Courtesy the artist

At the core of Shelagh Keeley’s work is a drawing practice based on an intuitive and embodied response to readings and research in poetry, politics, cinema, and architecture. The artist applies the same approach to her work with film, where the moving image becomes a drawing notebook, a travel journal, an opportunity to bring the viewer into the spaces experienced by the artist and mediated through the lens of the hand-held camera. Since 1985, Shelagh Keeley has documented on film her encounters with gardens and uniquely built environments around the world. The resulting film notebooks quietly, yet poignantly, reveal the layered histories and contexts that created them at different moments in time. From the flamboyant artificiality of a desert oasis in Las Vegas to the discipline of a Zen Garden in Kyoto, and from a colonial garden in Lisbon to the largest European zoological-botanical garden in Stuttgart, the films invite us to contemplate the complexity and intangible essence–genius loci or spirit of the place–Shelagh Keeley felt in these places. Filmed while walking for hours at a time as a flâneuse, the moving image notebooks present an invitation for the viewer to become the artist as she draws with the camera, investigating and uncovering the visceral, hidden layers of these locations.

Curator: Adelina Vlas, Head of Curatorial Affairs

THE POWER PLANT Contemporary Art Gallery

231 Queens Quay West, Toronto, Ontario M5J2G8

www.thepowerplant.org

Shelagh Keeley: Film Notebooks 1985-2017

The Power Plant, Toronto, April 11 - September 14, 2025

Emmanuel Osahor @ The Power Plant, Toronto - "To dream of other places" Exhibition Curated by Adelina Vlas

Emmanuel Osahor 

To dream of other places

The Power Plant, Toronto

Through September 14, 2025

Emmanuel Osahor 

Room for two, 2023 

Oil on canvas 

Photo: Joseph Hartman  

© Emmanuel Osahor, courtesy The Power Plant

Emmanuel Osahor’s practice focuses on beauty as a necessity for survival, respite, and sanctuary. Known primarily for his paintings of lush, verdant gardenscapes—inspired by real and imagined locations—these works meditate upon the complicated histories of these sites that entail the domestication of lands, plants, and individuals alike. To dream of other places is the artist’s first major solo presentation in his home city of Toronto and includes paintings, drawings, prints, ceramic sculptures, and a new, site-specific photographic wallpaper. Conceived as a night garden, the exhibition presents Osahor’s work in a unique environment intended to immerse the viewer in a contemplative space where feelings of delight and sorrow coexist as reflections of human experience. The artist’s poetic yet critical approach to a subject that has been well represented throughout art history reflects a practice that is profoundly engaged with beauty, painting, and the everyday at a time when meaningful encounters with art are needed more than ever.

Curator: Adelina Vlas, Head of Curatorial Affairs

THE POWER PLANT Contemporary Art Gallery

231 Queens Quay West, Toronto, Ontario M5J2G8

www.thepowerplant.org

Emmanuel Osahor: To dream of other places

The Power Plant, Toronto, April 11 - September 14, 2025

Andy Warhol @ Taglialatella Galleries, NYC + Toronto - "Andy Warhol: Factory Made" Exhibition

Andy Warhol: Factory Made

Taglialatella Galleries, New York

March 6 – 20, 2025

Taglialatella Galleries, Toronto

April 10 – May 1, 2025

Taglialatella Galleries presents Andy Warhol: Factory Made, in New York and Toronto, an exhibition of artwork representing three decades of iconic artwork from America’s most bought and sold artist in history, Andy Warhol.

Perhaps no formal introduction is needed for Andy Warhol, known by most for his pop art style and his ability to transform numerous everyday objects and recognizable faces into his muses. His subjects ranged from household products like Brillo boxes and Campbell’s Soup cans to musicians, athletes, politicians, and other influential pop culture and historical figures. In a studio he called “The Factory”, Andy Warhol mastered the ability to walk this fine line between artistic creation and manufactured aesthetics with a commercial and business-like attitude toward the works he produced.

Between 1963 and his untimely death in 1987, Andy Warhol moved his physical studio space several times, but The Factory continued to pump out a body of work unparalleled both then and since. It is estimated that Warhol created over 10,000 paintings, and his catalog raisonné of prints cites 413 published works in varying sized limited editions, totaling six figures of artwork produced in that 25-year span. In retrospect, this unprecedented style of creation is even more impressive since Warhol’s work was made before digital printing and computer-generation existed. As Warhol curated exhibitions and collaborated with fashion designers throughout the 80’s, he also produced countless hours of artistic films and shot hundreds of thousands of photographs.

With Andy Warhol: Factory Made, Taglialatella features the most iconic and sought-after of Warhol’s editions from The Factory’s three decades. Guests have the opportunity to view and purchase some of his most commercially traded and valuable works from this legendary period. For those more interested in the man himself, visitors can also view relics of Warhol’s eccentric style, including his iconic silver wig and a pair of his sunglasses.

TAGLIATELLA GALLERIES, NEW YORK

229 Tenth Avenue, New York, NY 10011

www.taglialatellagalleries.com

TAGLIATELLA GALLERIES, TORONTO

99 Yorkville Avenue, Toronto, ON M5R 1C1

tagto.ca

Photographer Eldred Allen @ Stephen Bulger Gallery, Toronto - "Scenes From Labrador" Exhibition

Eldred Allen

Scenes From Labrador

Stephen Bulger Gallery, Toronto

11 January - 22 February 2025

Stephen Bulger Gallery presents “Scenes From Labrador,” their first solo exhibition of work by ELDRED ALLEN (b. 1978, Rigolet, Nunatsiavut, NL). Allen, an Inuk photographer from Rigolet, has garnered attention for his expansive and stunningly lit landscape and wildlife photography. His artistic journey began in 2018 with the purchase of his first camera. As a self-taught photographer, Allen captures views of landscapes, wildlife, and human activities, using both a handheld camera and UAV/drone perspectives. After establishing a successful photography business connected to commercial services, Allen was driven to create more expressive photographs and was a quick study in transforming ordinary scenes into extraordinary ones.

This exhibition offers an introduction to several aspects of Allen’s practice. It includes colour landscapes of expansive scenes captured while standing on terra firma, as well as aerial views taken with a drone. His black-and-white images often portray traditional ways of life and community events, providing an insider’s view of both preserved heritage and contemporary living. Allen’s early success was recognized by the Inuit Art Foundation and its key supporters, which helped him connect with other artists through exhibitions and residencies. Collaborating with fine art printers in various communities allowed him to produce photographic prints of the highest quality. This is Allen’s first solo exhibition west of Newfoundland and Labrador.

ELDRED ALLEN’s work has been exhibited throughout Canada, including at the Labrador Interpretation Centre, Northwest River; The Rooms, St. John’s; the Yukon Arts Centre, Whitehorse; the Winnipeg Art Gallery/Qaumajug, Winnipeg; and more. He has received grants from the Canada Council for the Arts and the ArtsNL Professional Artists Travel Fund, was shortlisted for the Kenojuak Ashevak Memorial Award and was longlisted for a Sobey Art Award. His work is included in public collections such as the Canadian Council Art Bank, Ottawa; Global Affairs Canada, Ottawa; the Indigenous Art Centre, Gatineau; McGill University Library and Archives, Montreal; the Montreal Museum of Fine Arts; the RBC Art Collection; The Rooms, St. John’s; among others.

STEPHEN BULGER GALLERY

1356 Dundas Street West, Toronto, ON Canada M6J 1Y2

www.bulgergallery.com

Toronto Biennial of Art 2024 - Curators: Dominique Fontaine and Miguel A. López

TORONTO BIENNIAL OF ART 2024 

Co-curated by Dominique Fontaine 

and Miguel A. López

September 21 - December 1, 2024 

The Toronto Biennial of Art (TBA/the Biennial) 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. 

DOMINIQUE FONTAINE AND MIGUEL LOPEZ

Photo courtesy Toronto Biennial of Art

Toronto Biennial of Art 2024, the third edition of the city-wide art events is co-curated by Dominique Fontaine and Miguel A. López.

TBA worked with a group of prominent art-world leaders including TBA 2019 and 2022 Senior Curator and current Executive Director and Chief Curator of Forge Project Candice Hopkins, to develop a list of international and Canadian curators for consideration.

Toronto Biennial of Art Executive Director Patrizia Libralato said, “We are delighted to welcome Dominique and Miguel, thought leaders who will contribute significant scholarship, innovation, and inspiration as we shape the upcoming Biennial edition and programming. Their areas of research and ongoing commitment to supporting both emerging and established contemporary artists from Canada and around the world will deepen TBA’s connections to local communities and its place in global conversations. Together, we aim to create an event as uniquely diverse, responsive, challenging, and engaging as the city itself.”

The critically acclaimed Toronto Biennial of Art launched in 2019 and attracted over 450,526 visitors to its first two editions. The Biennial provides expanded understandings of contemporary art practices, and its free, citywide programming aims to inspire people, bridge communities, and contribute to global conversations. The Biennial has featured over 76 exhibition artists including powerful works by AA Bronson, Lawrence Abu Hamdan, Ghazaleh Avarzamani, Shezad Dawood, Judy Chicago, Jeffrey Gibson, Brian Jungen, Tanya Lukin Linklater, Kapwani Kiwanga, Joar Nango, New Red Order, Jumana Manna, Caroline Monnet, Lisa Reihana, Denyse Thomasos, and Camille Turner.

DOMINIQUE FONTAINE

“It’s a great honor to be invited to curate TBA 2024 with Miguel. I’m thrilled for this opportunity to co-create an event that could resonate with complex issues of our time in relation to the changing realities of Toronto and the praxis of coexistence. I am looking forward to working with artists, who will bring new and fresh ways of thinking and seeing, and the communities as well as TBA’s partners throughout the city. I am enthusiastic and passionate about the next edition of TBA.” -- Dominique Fontaine

DOMINIQUE FONTAINE 

Photo courtesy Toronto Biennial of Art

Dominique Fontaine is a curator, joining the TBA team in December 2022 as co-curator of its third edition. She graduated in visual arts and arts administration from the University of Ottawa (Canada), and completed De Appel Curatorial Programme (Amsterdam, the Netherlands).

Dominique Fontaine’s recent projects include Imaginaires souverains, Le présent, modes d’emploi, Maison de la culture Janine-Sutto; Foire en art actuel de Québec 2020; Here We Are Here: Black Canadian Contemporary Art; Dineo Seshee Bopape: and- in. the light of this._______, Darling Foundry; Repérages ou À la découverte de notre monde ou Sans titre, articule; Between the earth and the sky, the possibility of everything, Scotiabank Nuit Blanche Toronto 2014. Dominique Fontaine is co-initiator of the Black Curators Forum; is a member of AICA-Canada, the American Association of Museum Curators (AAMC,) and of the International Contemporary Art Curators Association (IKT); and is also part of Intervals Collective. Dominique Fontaine is laureate of Black History Month of the City of Montreal 2021.

MIGUEL A. LOPEZ

“I am beyond excited to work with the Toronto team and envision a meaningful 2024 Biennial for the artists, the art ecosystem, and especially for the city. I am looking forward to contributing to the local context and encouraging new collaborations with artists, activists, and cultural workers that are posing urgent questions about what forms art can take in the public sphere. I am devoted to bringing art that challenges, inspires, encourages, and connects us.” -- Miguel A. López

MIGUEL A. LOPEZ 

Photo courtesy Toronto Biennial of Art

Miguel A. López is a writer and curator, joining the TBA team in December 2022 for its third edition. In his practice, he focuses on the role of art in politics and public life, collective work and collaborative dynamics, and queer and feminist rewritings of history. Prior to joining TBA, Miguel A. López worked as chief curator, and later co-director, at TEOR/éTica (Costa Rica) from 2015 to 2020. In 2019, he curated the retrospective exhibition “Cecilia Vicuña: Seehearing the Enlightened Failure” at the Witte de With (now Kunstinstituut Melly), Rotterdam, which traveled to Mexico City, Madrid, and Bogota. For 2023-2025, he is preparing a new, more comprehensive retrospective entitled “Cecilia Vicuña. Dreaming Water,” that will first open at Fine Arts Museum of Chile, and then travel to MALBA – Latin American Art Museum of Buenos Aires, Pinacoteca Museum of São Paulo, Brazil, and other venues.

Other recent curatorial projects include “Sila Chanto & Belkis Ramírez: Aquí me quedo / Here I Stay” en el ICA-VCU, Richmond (2022), “Hard To Swallow. Anti-Patriarchal Poetics and New Scene in the Nineties” at ICPNA, Lima (2021), “and if I devoted my life to one of its feathers?” at the Kunsthalle Wien, Vienna (2021), and “21 Bienal de Arte Contemporânea SESC_Videobrasil. Comunidades Imaginadas” at SESC, São Paulo (2019). He is the author of Ficciones disidentes en la tierra de la misoginia [Dissident Fictions in the Land of Misogyny] (2019), and co-editor of The Words of Others: León Ferrari and Rhetoric in Times of War (2017). His texts have been published in journals such as Afterall, Artforum, e-flux Journal, Art in America, Journal of Visual Culture, Manifesta Journal. He was a recipient of the 2016 Independent Vision Curatorial Award.

TORONTO BIENNIAL OF ART

torontobiennial.org

Keith Haring: Art is for Everybody @ The Broad, Los Angeles + Art Gallery of Ontario, Toronto + Walker Art Center, Minneapolis

Keith Haring: Art is for Everybody

The Broad, Los Angeles

May 27 – October 8, 2023

KEITH HARING

Untitled, 1982 

Baked enamel on steel, 43 x 43 inches, 

The Eli and Edythe L. Broad Collection, Los Angeles

© Keith Haring Foundation

KEITH HARING

Red Room, 1988

Acrylic on canvas, 96 x 179 in. (243.8 x 454.7 cm) 

The Broad Art Foundation 

© Keith Haring Foundation

The Broad presents a special exhibition Keith Haring: Art is for Everybody. Organized by The Broad, this show is the first ever museum exhibition in Los Angeles to present Keith Haring’s expansive body of work and will feature over 120 artworks and archival materials. Known for his use of vibrant color, energetic linework and iconic characters like the barking dog and the radiant baby, Keith Haring’s work continues to dissolve barriers between art and life and spread joy, all while being rooted in the creative spirit and mission of his subway drawings and renowned public murals: art is for everybody.

Following its debut in Los Angeles, Keith Haring: Art Is for Everybody will travel to the Art Gallery of Ontario, in Toronto, from November 11, 2023 to March 17, 2024, and then to the Walker Art Center, in Minneapolis, from April 27 to September 8, 2024.

Born in 1958 in Reading, Pennsylvania, Keith Haring moved to New York City in 1978 to study art. He quickly became a staple within the downtown New York arts community with the likes of artists Jean-Michel Basquiat, Kenny Scharf and Andy Warhol. Keith Haring’s output in the coming decade can be understood in the spirit of the countercultural and nightlife scenes of the 1980s, often organizing exhibitions at the Club 57 nightclub and other alternative venues. This sensibility is palpable in his subway drawings–of which he created over 5,000 throughout his career–where his visionary use of line could be experimented with in quick movements, available to the wide public who took the New York subway. Eli and Edythe Broad, who first began to collect contemporary art deeply in the 1980s, were drawn to the social and political nature of Keith Haring’s work early on, first entering the collection in 1982. Forty years later his legacy continues to garner international acclaim and recognition.

“Keith Haring’s global influence and enduring impact are profound, and The Broad is thrilled to bring our audience in Los Angeles this sweeping exhibition of his work,” said Joanne Heyler, Founding Director of The Broad. “It is our distinct pleasure to share a deep and varied representation of his emblematic visual language and to highlight the prolific ways he spoke through his art and activism about social issues while celebrating joy, solidarity, community and hope.”

Keith Haring: Art is for Everybody explores both his artistic practice and life, with much of the source material for the exhibition coming from his personal journals. Works presented span from the late-1970s when he was a student at the School of Visual Arts in New York up until 1988, just two years before the artist died from AIDS-related illness at the age of 31. Keith Haring’s participation in nuclear disarmament and anti-Apartheid movements are featured prominently in the show, as well as works that take on complex issues that remain crucial today from environmentalism, capitalism, and the proliferation of new technologies to religion, sexuality, and race. In the last gallery, significant works from the late 1980s is accompanied by framed posters illustrating the artist’s activism within the HIV/AIDS crisis. 

The exhibition is accompanied by a monograph catalog published by the museum in collaboration with DelMonico Books and features essays by The Broad’s Curator and Exhibitions Manager Sarah Loyer, Kimberly Drew and Tom Finkelpearl; a roundtable conversation with Patti Astor, Kenny Scharf, and Kermit Oswald; and reflections by George Condo, Ann Magnuson, Bill T Jones, Julia Gruen and Gil Vazquez.

“Keith Haring’s belief that art should be accessible to all is central to the exhibition and integral to The Broad’s mission,” said Sarah Loyer, Curator and Exhibitions Manager. “With this exhibition, our audience will have the opportunity to dive deep into Haring’s work, both as an artist and as an innovator who completely shifted the landscape of contemporary art to this day.”

Divided into ten galleries in total, the expansive exhibition will feature the breadth of mediums Keith Haring worked within, including video, sculpture, drawing, painting, and graphic works, as well as representations from the artist’s enormous output of public projects, from the subway drawings to his public murals. Major works held in the Broad collection such as Untitled, 1984 and Red Room, 1988 will be on view in addition to key loans from many institutional and private collections, including art, ephemera and documentation provided by the Keith Haring Foundation in New York, established by the artist in 1989. The show features immersive elements, such as a gallery lit by blacklight soundtracked by playlists created by the artist himself. Additionally, the Shop at The Broad will be transformed, taking inspiration from Keith Haring’s artistic retail space The Pop Shop, which first opened in 1986 in the SoHo neighborhood of New York. Much like its original format, The Broad uses this component of the exhibition to make Keith Haring’s line accessible to the widest possible audience.

“Much like the work of Keith Haring, his idea that Art Is for Everybody is as profound in its simplicity as it is in its complexity. We invite everyone to The Broad museum for a closer look at why his practice, activism, courage, and accessibility continue to resonate, perhaps now more than ever,” said Gil Vazquez, Executive Director of the Keith Haring Foundation.

Additionally on view for free in The Broad’s third-floor galleries throughout the exhibition will be works by contemporaries of Keith Haring including Jean-Michel Basquiat, George Condo, Jenny Holzer, Kenny Scharf, and Andy Warhol, among others.

THE BROAD

221 S. Grand Avenue, Los Angeles, CA 90012

www.thebroad.org

Ben Reeves @ Nicholas Metivier Gallery, Toronto - Slack Tide

Ben Reeves: Slack Tide

Nicholas Metivier Gallery, Toronto

November 5 - 26, 2022

Nicholas Metivier Gallery presents Slack Tide, an exhibition of new paintings by BEN REEVES. This is Ben Reeves’ second solo exhibition at the gallery. 

Having resided in British Columbia for most of his life, Ben Reeves is acutely aware of the natural world and our shifting relationship with it. For this exhibition, Ben Reeves reflects on "back-to-the-land" activities and wildlife encounters that are at once utopian and ominous. Practices of casting a fishing net, digging for clams and foraging for mushrooms are portrayed in an ethereal light, opening passageways for fantastical elements including a forest floor composed of colourful sea stars. Ben Reeves' signature impasto and collaged surfaces are also at play, echoing the physical, sensory and emotional experience of the places he depicts in his paintings. 

While the forest scenes recall Ben Reeves’ childhood memories of growing up in Lynn Valley, the fisher paintings reflect on his experiences in Newfoundland. When locals would toss their nets into the ocean to catch small fish, Ben Reeves was particularly drawn to the formlessness of the nets while in midair. He sees the act as a metaphor for painting, a process that is hard to pin down and difficult to describe. Ben Reeves often avoids the use of horizon lines which when absent, flatten the perspective and emphasize the mysterious qualities of water - its vastness and its depth. 

Places are experienced physically, sensorily and emotionally, but also culturally. Painting has these similar dimensions and, for both, they do not all perfectly align. So there is always work to be done and many mysteries to consider.

 

The paintings in “Slack Tide” explore pasts, presents and futures of so-called natural places that skirt urban areas. There is a sense that these spaces have multiple histories and meanings. As a result, we have multiple identities within them.

– Ben Reeves

NICHOLAS METIVIER GALLERY

190 Richmond Street East, Toronto, ON M5A 1P1

metiviergallery.com

_______________

Juliette Agnel @ Nicholas Metivier Gallery, Toronto - Les Nocturnes

Juliette Agnel: Les Nocturnes

Nicholas Metivier Gallery, Toronto

November 5 – 26, 2022

Nicholas Metivier Gallery presents Les Nocturnes, an exhibition of new photographs by Juliette Agnel.  This is Juliette Agnel’s first solo exhibition at the gallery. 

For over two decades, Juliette Agnel has travelled the world documenting remote landscapes. Her interest in anthropology and archeology alongside a life-long passion for the histories of fallen kingdoms, explorers, and ancient mythologies, has led Agnel to pursue ambitious site-specific projects abroad. Most recently, she has photographed in Greenland, Morocco, Sudan, and the Alps.

This exhibition features Juliette Agnel’s ongoing project, Les Nocturnes, a series she began in 2017. Using composite images, she creates ethereal landscapes surrounded by expansive starry skies. By combining photographs taken at different times of day, she conveys every detail of the terrestrial and cosmic elements in her subjects. 

Juliette Agnel’s latest body of work, Taharqa et la nuit, captures the mysterious beauty of the ruins of Meroe in Sudan, home of the ancient kingdom of Kush and the Pharaoh Taharqa. She was entranced by the power and poetic beauty of the vestiges of the once-mighty empire emerging from the desert sands. Her approach to photographing her nocturnal landscapes lends a surreal quality to the work that transports us to another time.

In all my subjects, there is the presence of terrestrial and cosmic forces. In Meroe, all the sites were built according to the position of the stars, in particular the tombs. The cosmos had a sacred significance. What drives this series is the desire to show the forces that are there, invisible forces, that speak of our origins and the relationship to the sacred and to nature - and to ask myself the question of how to show these forces that animate this place.

– Juliette Agnel

NICHOLAS METIVIER GALLERY

190 Richmond Street East, Toronto, Ontario, M5A 1P1

metiviergallery.com

_________________

Sandra Brewster @ The Power Plant, Toronto - Dense

Sandra Brewster: Dense 

The Power Plant, Toronto 

29 January - 1 May 2022

Sandra Brewster 

Roots 1 (detail), 2021

Photo-based transfer on pressure treated wood, 36x48 in.

Sandra Brewster 

Roots 2 (detail), 2021

Photo-based transfer on pressure treated wood, 36x48 in.

Sandra Brewster 

Roots 2 (detail), 2021

Photo-based transfer on pressure treated wood, 36x48 in.

 

Toronto-based Canadian artist Sandra Brewster has been invited to create a new site-specific installation at The Power Plant. Brewster will transform the light-flooded Clerestory into an arboreal landscape soaring across both sides of the space. Sandra Brewster’s photo-based gel transfers, installed directly onto the gallery’s walls, will envelop visitors in a lush atmosphere. The scratches and ridges in her weathered images reference profound identity shifts that Caribbean immigrants experience when arriving in Canada, the complex and layered experiences of whom Brewster has been consistently exploring throughout her practice. Outside the gallery, Sandra Brewster presents a new interactive sculpture commissioned by ArtworxTO A Place To Put Your Things, a swing set with a seat in the form of a couple’s kiss.

Sandra Brewster is a Canadian artist, born in Toronto where she is presently based.  Sandra Brewster has shown her work in solo exhibitions at the Art Gallery of Ontario, Toronto (2019); Or Gallery, Vancouver (2019); and Never Apart Gallery, Montreal (2017). She has participated in group exhibitions at the Montreal Museum of Fine Arts (2019); Mercer Union, Toronto (2018); Eastern Edge Gallery, St. John’s, (2016); and Allegheny Art Galleries, Meadville (2015). Her exhibition It’s all a blur… received the Gattuso Prize for outstanding featured exhibition of CONTACT Photography Festival 2017. In 2018, Sandra Brewster was the recipient of the Artist Prize from Toronto Friends of the Visual Arts, and she was an Artist-in-Residence at the Art Gallery of Ontario. Sandra Brewster holds a Masters of Visual Studies from the University of Toronto, and a BFA from York University, Toronto. 

Curated by Joséphine Denis, TD Curator of Education and Outreach Fellow, 2021-2023

THE POWER PLANT CONTEMPORARY ART GALLERY

231 Queens Quay West, Toronto, Ontario M5J 2G8

www.thepowerplant.org

Sasha Huber @ The Power Plant, Toronto - YOU NAME IT

Sasha Huber: YOU NAME IT 

The Power Plant, Toronto

29 January - 1 May 2022 

Sasha Huber

Still of Rentyhorn, 2008

Video, 4:30 mins

Courtesy the artist and Museum of Contemporary Art Kiasma 

Photo: Siro Micheroli

Sasha Huber

Shooting Back: Louis Agassiz, 2008

Metal staples shot into abandoned wood boards, 150 x 115 cm 

Courtesy the artist and Museum of Contemporary Art Kiasma

 

Swiss-Haitian-Finnish artist SASHA HUBER uses performance, photography, and film, among other media, to investigate colonial residues left in the environment. YOU NAME IT, Huber’s first solo show in North America, will feature over a decade’s worth of work prompted by the cultural and political activist campaign “Demounting Louis Agassiz,” which seeks to redress the racist legacy of the Swiss-born naturalist and glaciologist Louis Agassiz (1807–1873). Huber’s artworks challenge the terms by which we remember, asking not only who and what we memorialize, but also, and more importantly, how we do so. The exhibition is initiated, organized​, and circulated by The Power Plant Contemporary Art Gallery, Toronto, Canada​, in collaboration with Kunstinstituut Melly, Rotterdam, Netherlands; Autograph ABP, London, United Kingdom; and Turku Museum, Finland. 

Sasha Huber

Mother Throat, 2017

Video, 10:30 mins

Throat singing by Silla: Charlotte Qamaniq (Iglulik, NU) and

Cynthia Pitsiulak (Kimmirut, NU)

Supported by Arts Promotion Centre Finland, AVEK

Courtesy the artist

Sasha Huber 

Still of Louis Who? What you should know about Louis Agassiz, 2010

Video, 3:50 mins

Commissioned by the Capacete in Rio de Janeiro for the 29th São Paulo Biennale 2010

Photo: Calé. Courtesy the artist

Sasha Huber

Still of Karakia - The Resetting Ceremony, 2015

Video, 5:20 mins

Supported by AVEK, Arts Promotion Centre Finland, Te Whare Hēra Wellington International Artist Residency

Courtesy the artist

 

Sasha Huber is a Swiss-Haitian-Finnish artist who lives and works in Helsinki, Finland. Recent solo exhibitions include Artivist Lab, Prague (2020); Centro Helio Oiticica, Rio de Janeiro (2019); and Forum Box, Helsinki (2016). She has participated in international exhibitions, including the 56th Venice Biennale (2015); 19th Biennale of Sydney (2014); and 29th São Paulo Biennial (2010). Sasha Huber is completing her PhD at the Department of Art and Media at the Zurich University of the Arts, and she holds an MA from the University of Art and Design Helsinki. 

Curated by Noor Alé, Associate Curator.

 

THE POWER PLANT CONTEMPORARY ART GALLERY

231 Queens Quay West, Toronto, Ontario M5J 2G8

www.thepowerplant.org

Wendy Ewald @ Stephen Bulger Gallery, Toronto - The Pictures Woke the People Up: Canada, Colombia and American Alphabets

Wendy Ewald

The Pictures Woke the People Up: Canada, Colombia and American Alphabets

Stephen Bulger Gallery, Toronto

Through 15 January 2022

The Stephen Bulger Gallery presents “The Pictures Woke the People Up: Canada, Colombia and American Alphabets”, their first solo exhibition with acclaimed photographer WENDY EWALD which announces the gallery's representation of her work. For over fifty years, Wendy Ewald has collaborated on art projects with children, families, women, and teachers in Labrador, Colombia, India, South Africa, Saudi Arabia, Holland, Mexico, Morocco, the United Kingdom, and the United States.

Working as a photographer and teacher, Wendy Ewald’s projects emphasize a method of collaboration that challenges the distinctions between photographer and subject. Adopting a variety of approaches, she creates projects based on a reciprocal vs. hierarchical approach. Her goal is to provide the vision of her subjects rather than merely make images of them. Through her documentary investigations of places and communities, Ewald probes questions of identity and cultural differences. In her work with children and women, she encourages them to use cameras to record themselves, their families, and their communities, and to articulate their fantasies and dreams.

This exhibition presents a selection of work from various stages of her career. During Wendy Ewald’s college years, starting in 1969, she worked with Indigenous children in Sheshatshiu, Labrador and in Eskɨnuopitijk, New Brunswick. She observed that her photography was restrained partially by a reticence to disturb her subjects. Her students’ approached their work in a more dynamic fashion. While photographing the same scene as 14-year-old Merton Ward, she was struck by the difference.  Her photographs were clear renderings of the evidence before her, whereas his portrayed life on the reservation was more expressive. She successfully applied to the Polaroid Foundation for cameras and film for her students, which enabled her to work there for four summers. We will exhibit vintage prints from that period, a film, as well as colour work made during visits to the region 39 years later.     

After working in the Appalachian Mountains in the 70s, Wendy Ewald travelled to Latin America to create work within another rural community. She was awarded a Fulbright Scholarship in 1982 to photograph and teach photography in a Colombian village. She hoped that by working outside her native language she would be forced to rely on her visual skills. She was also introduced to Alicia Vásquez, a single mother living with three young sons in an invasion barrio in Bogota. Over time, she shared her life story with Ewald who brought her books of classical literature. Her mother María and other members of the family told their stories which prompted Ewald to illustrate the family’s memoir. Alicia was uncomfortable around a camera. Photographs made by Ewald and the children she taught in the village of Ráquira are interwoven with transcribed and edited stories of the Vásquez family. Our exhibition displays an excerpt from the book of this work, MAGIC EYES: Scenes From An Andean Girlhood.

In 1991, Wendy Ewald became a senior research associate at Duke University’s Center for Documentary Studies and founded the Literacy through Photography program for Durham Public Schools in North Carolina. During this time, she became aware of the language barrier amongst immigrant and local communities. She recognized the prevalence of cultural descriptors in North American children’s alphabet primers (i.e ‘C’ is for ‘Car’) and collaborated with children from different backgrounds to create primers of their own. She asked students to think of words for each letter of the English and Spanish alphabets and assign them visual signs specific to their culture. Wendy Ewald photographed the signs, objects, or scenes selected. When the large-format negatives were developed, the children altered them with Sharpies, adding the letter and word they illustrated. Our exhibition will include alphabets from several communities.

Wendy Ewald has received many honors, including a MacArthur Fellowship, a Guggenheim Fellowship, and grants from the National Endowment for the Arts, The Andy Warhol Foundation, the Rauschenberg Foundation, and the Fulbright Commission. She was also a senior fellow at the Vera List Center for Art and Politics at the New School from 2000-2002. She has had solo exhibitions at the International Center of Photography, New York, the Center for Creative Photography, Tucson, the George Eastman House, Rochester, Nederlands Fotomuseum, Rotterdam, the Fotomuseum, Wintherthur, Switzerland, the Corcoran Gallery of American Art, Washington, DC, and The Queens Museum, New York, among others. Ewald’s work was included in the 1997 Whitney Biennial. She has published fourteen books, her fifth, a retrospective documenting her projects entitled Secret Games, was published by Scalo in 2000. Two books were published in 2005. A third, To The Promised Land was published in 2006 to accompany an outdoor installation in Margate, England, with “new starts” and refugees commissioned by ArtAngel. She was an artist in residence at Amherst College for eleven years where she taught the course, Collaborative Art: The practice and theory of working with communities. This Is Where I Live, which maps Israel/Palestine through 14 different communities, was published by MACK in 2015 in conjunction with a traveling exhibition, “This Place”. America, Border, Culture, Dreamer a collaboration with young immigrants to the US was published by Little Brown in Fall 2018 to accompany a public art installation in Philadelphia. Her film for PBS, Portraits and Dreams, was released in 2020 accompanied by an expanded update of the original book published in 1985. Wendy Ewald’s project for “Towards a Common Cause: Art, Social Change, and the MacArthur Fellows Program at 40” continues until December 19, 2021, throughout Chicago, presented by the Smart Museum. The book The Devil is Leaving his Cave, will be published by MACK Books in 2022. From November 8 ­– 28, 2021, Wendy Ewald and artist Zak Hajjaoui have collaborated on a billboard that will be on display at the corner of Richmond Street East and Parliament Street, Toronto, as part of For Freedoms North American “Billboards” exhibition. For Freedoms is an artist-led organization that models and increases creative civic engagement, discourse, and direct action.

Wendy Ewald, Katherine Hyde, Lisa Lord

Literacy and Justice through Photography

© Teachers' College Press

Wendy Ewald, Alexandra Lightfoot

I Wanna Take Me a Picture

© Beacon Press

In addition to her artistic practice, Wendy Ewald has published two books for teachers and families, I Wanna Take Me a Picture and Literacy and Justice through Photography. She has been collaborating with partners in Tanzania for the past ten years to create photographic teaching materials for the national primary and secondary school curriculums. In 2021 she developed a course in teaching and learning through images for Humanities and Education students at the University of Dodoma, Tanzania.

STEPHEN BULGER GALLERY

1356 Dundas Street West, Toronto, ON M6JIY2

www.bulgergallery.com

Exposition des Lauréats du Prix Nouvelle génération de photographes - Katherine Takpannie, Curtiss Randolph, Noah Friebel, Chris Donovan, Dainesha Nugent-Palache, Dustin Brons @ Université Ryerson, Toronto

Exposition des Lauréats du Prix Nouvelle génération de photographes

Katherine Takpannie, Curtiss Randolph, Noah Friebel, Chris Donovan, Dainesha Nugent-Palache, Dustin Brons

Université Ryerson, Toronto

Jusqu'au 5 décembre 2021

Les œuvres d’art photographiques des lauréats des éditions 2020 et 2021 du Prix Nouvelle génération de photographes, Katherine Takpannie, Curtiss Randolph, Noah Friebel, Chris Donovan, Dainesha Nugent-Palache et Dustin Brons, font l’objet d’une exposition extérieure gratuite maintenant ouverte et présentée jusqu’au 14 novembre 2021 au Ryerson Image Centre sur le campus de l’Université Ryerson, au centre-ville de Toronto, dans le cadre du Festival de photo CONTACT Banque Scotia. Ces artistes ont été reconnus comme les jeunes photographes les plus brillants du Canada par le Musée des beaux-arts du Canada et la Banque Scotia. Le Prix Nouvelle génération de photographes est le seul qui récompense les artistes canadiens de 35 ans et moins qui travaillent avec l’objectif d’une caméra.

L’exposition de cette année, organisée par le Musée des beaux-arts du Canada en partenariat avec la Banque Scotia, le Festival de photo CONTACT Banque Scotia, et l’Université Ryerson, réunit les œuvres des lauréats de 2020, Curtiss Randolph, Katherine Takpannie, Noah Friebel, et ceux de 2021, Dustin Brons, Chris Donovan, et Dainesha Nugent-Palache.

Les artistes, qui ont reçu 10 000 dollars chacun, ont été sélectionnés par un jury de renom composé d’experts en photographie, d’artistes et de leaders de la communauté des arts visuels. Les œuvres des lauréats feront également l’objet d’une exposition au Musée des beaux-arts du Canada à Ottawa, du 13 août au 5 décembre 2021. 

Andrea Kunard, conservatrice principale des photographies au Musée des beaux-arts du Canada assure le commissariat des expositions du Prix Nouvelle génération de photographes.

Andrea Kunard souligne que : « L’édition combinée 2020 et 2021 témoigne de la grande capacité d’expression de la photographie. Dans certains cas, les approches documentaires directes transmettent des questions d’urgence sociale. D’autres œuvres mêlent les capacités descriptives de la photographie à des stratégies narratives pour présenter des parcours personnels. La relation privilégiée de ce médium avec l’art conceptuel est également explorée, ainsi que sa capacité à dépeindre les questions d’identité et de culture. »

LES LAURÉATS DE 2020

Originaire de Toronto, Curtiss Randolph construit des scènes sous forme de tableaux ou de récits documentaires mis en scène. Ayant grandi dans une famille de théâtre, les éléments de la production scénique se sont très tôt glissés dans son processus de travail. Mélangeant réalisme, surréalisme et journalisme gonzo, Randolph remet en question les idées préconçues des spectateurs sur le style documentaire, afin d’interroger les idées de fait et de fiction dans le médium photographique.

Katherine Takpannie est une artiste Inuite établie à Ottawa, une écrivaine et une diplômée du programme Nunavut Sivuniksavut (NS). Ses photographies mettent en scène des gestes performatifs et politiques dans des environnements naturels et construits, y compris des portraits intimes de femmes. Ses œuvres font partie de la collection d’art de la ville d’Ottawa et ont été présentées à l’exposition Getting Under Our Skin à la galerie d’art de Guelph et à l’exposition They Forgot We Were Seeds à la galerie d’art de l’Université Carleton.

Basé à Vancouver/Berlin, Noah Friebel se concentre sur l’aspect fabriqué de la photographie, utilisant des éléments de sculpture et d’installation pour examiner notre relation aux images, les uns aux autres, et l’espace rétréci entre les deux. Depuis qu’il a obtenu un BFA de l’Université Emily Carr en 2018, Friebel a fait partie de plusieurs expositions collectives : notamment Green Glass Door chez Trapp Projects et The Lind Prize 2018 à la Galerie Polygon. Il a une prochaine exposition solo à la Republic Gallery en avril 2020.

LES LAURÉATS DE 2021

Chris Donovan est un artiste photographe qui travaille à Toronto et au Nouveau-Brunswick. Originaire de la ville industrielle de Saint John, sa pratique se concentre sur l’intersection entre la communauté et l’industrie. Ses œuvres ont été récompensées par Pictures of the Year International (Université du Missouri), la Fondation Alexia (Université de Syracuse), le Conseil des arts du Nouveau-Brunswick et le Conseil des arts de Toronto, et ont été exposées partout au Canada dans le cadre de festivals de photographie, notamment CONTACT (Toronto), Capture (Vancouver), Exposure (Calgary), Flash (Winnipeg) et Zoom (Saguenay). Il est membre du collectif Boreal et poursuit actuellement une maîtrise en médias documentaires à l’Université Ryerson en tant que boursier d’études supérieures.

L’artiste torontoise Dainesha Nugent-Palache a participé à de nombreuses expositions au niveau national et international. Membre fondatrice de plumb, un collectif ad hoc d’artistes, d’écrivains, de conservateurs et d’un lieu d’exposition à Toronto, elle a également été conservatrice pour le festival de musique féministe et la série de concerts Venus Fest, ainsi que pour Blindspots, une exposition d’art et une projection de film où des artistes queer explorent l’expérience LGBTQ à travers une lentille diasporique. Diplômée et lauréate de prix importants, ses œuvres se trouvent dans la Wedge Collection, la Collection d’art de la Banque TD, et des collections privées. Ses expériences en tant qu’artiste ont également été mises en lumière dans la série sur les artistes durant la COVID, à laquelle s’est intéressée la CBC.

Dustin Brons, artiste basé à Vancouver, titulaire d’un MFA (UC San Diego) et d’un BFA (UBC), et récent participant au Whitney Independent Study Program, travaille à la recontextualisation de matériaux existants à travers des photographies, des vidéos et des textes. Son travail intègre des formes visuelles de l’histoire de l’art occidental comme outils de traitement des sources contemporaines. La nature morte et la peinture de paysage, l’abstraction gestuelle, le conceptualisme linguistique et les dispositifs photographiques, du pictorialisme à l’appropriation, sont reconfigurés dans des représentations du changement climatique et de l’embourgeoisement, en mettant l’accent sur la manière dont les formes visuelles contribuent à façonner les compréhensions sociales et politiques de ces processus intangibles, mais totalisants.

Ryerson University

350 Victoria St, Toronto, ON M5B 2K3

www.ryerson.ca

Musée des beaux-arts du Canada

380, promenade Sussex, Ottawa, ON K1N 9N4

www.beaux-arts.ca

Omar Ba @ The Power Plant Contemporary Art Gallery, Toronto

Omar Ba, Same Dream 
The Power Plant Contemporary Art Gallery, Toronto 
26 January - 12 May 2019

Omar Ba's work engages with some of the most urgent issues of our time: the growing inequality of wealth and power globally, questions around immigration, and our changing relationship with the natural world. His penchant for depicting personal narratives alongside collective ones speaks to the "in-between" condition of his work, as he splits his time between Dakar, Senegal and Geneva, Switzerland, and blends the visual texture of both places through his work. Omar Ba regularly draws from and intertwines a range of elements -the historical and contemporary, figurative and abstract imagery- from African and European cultures, as well as the techniques and tools he employs, including corrugated cardboard and canvas, paintbrushes and his hands. He prepares his surfaces-whether cardboard, canvas or wall-with a black ground, upon which he layers a vivid palette dominated by primary colours. The paintings teem with details as micro-worlds exist within larger constellations, oscillating between bold planes of colour and intricate outlines. Largely symbolic, the figures and forms portrayed refer not to specific individuals, but rather are open to universal narratives.

Same Dream brings together several of Omar Ba's paintings depicting dictators and authority figures, who lead corrupt and violent régimes across the African continent and in other parts of the world, particularly where thé legacies of colonialism persist. At times represented as hybrid beasts-part human, part animal -these despotic warlords are typically enveloped in an abundance of lush flora and fauna. Indeed, nature becomes a continuous force across Omar Ba's oeuvre. The recurring biomorphic shapes are often inspired by Senegal's dazzling coastal environment in which Omar Ba grew up. In conversation with this group of paintings, the exhibition also presents works that reveal Omar Ba's affinity for portraying the strength of the human spirit-depictions of youth who, regardless of where they are, share some of the same dreams for the future. For the exhibition at The Power Plant, Omar Ba has developed a new large-scale work directly on one of the gallery walls, exploring a recurrent motif of birth, death and reincarnation across different cultures today.

The world of Omar Ba's painting is a hybrid one, ultimately evoking a shared cosmogony between humans, plants and animals.

Same Dream is Omar Ba's first institutional solo exhibition in North America.

Curator: Nabila Abdel Nabi, Associate Curator

The Power Plant 
Contemporary Art Gallery
231 Queens Quay West, Toronto, Ontario M5J2G8
www.thepowerplant.org

Erwin Blumenfeld @ Corkin Gallery, Toronto - From Dada To Vogue

Erwin Blumenfeld: From Dada To Vogue
Corkin Gallery, Toronto
April 26 - October 14, 2018

Corkin Gallery presents From Dada to Vogue, an exhibition of rare early collages and photographs by Erwin Blumenfeld.

As a young artist in interwar Europe, Erwin Blumenfeld was at the forefront of modernist image-making. His Dadaist collages, produced between 1919 and 1933, are variously sly, satirical and politically astute. Blumenfeld’s subversive spirit is evident as much in their content as in their form: with crayons, pastel, pen and ink; newspaper cutouts; cigarette wrappers; and even calling cards at this employ, the artist confronts the profound social upheaval of his moment.

In the early 1930s, Erwin Blumenfeld became increasingly involved with photography. His unconventional approach to the medium captured the attention of noted image-makers; a meeting with Cecil Beaton proved to be a turning point in his artistic career. “Here at last,” wrote Beaton, “is a fresh and clear mind… (Blumenfeld’s) pictures are not of Vogue quality, for they are much more serious, too provoking, and better than fashion.”

This experimental character defines the pivotal nature of Erwin Blumenfeld’s European output. Visceral and challenging, his early collages and photographs constitute a sobering exploration of the human spirit.

Previously unseen in Canada, the collages and photographs on view in From Dada to Vogue expand our understanding of Erwin Blumenfeld’s position in the history of Modernism. He was not only one of the last century’s most influential photographers; he was one of its great artists.

Erwin Blumenfeld (b. 1897, Berlin; d. 1969, Rome) brought a radical, avant-garde vision to his work in portraiture, nudes, fashion and advertising, redefining the potential of his medium. Until 1939, he worked in Berlin, Amsterdam and Paris, and was a key proponent of Dutch Dada. After two years in a French internment camp, Erwin Blumenfeld immigrated to New York. There, he shot fashion spreads and hundreds of covers for the Condé Nast family of publications, shaping the look of 1940s and ‘50s America. 

CORKIN GALLERY
7 Tank House Lane, Distillery District, Toronto, ON M5A 3C4
www.corkingallery.com

2018 Interior Design Show - IDS18 - Toronto

2018 Interior Design Show - IDS
Metro Toronto Convention Center
January 18 - 21, 2018

Since opening its doors in 1999, the Interior Design Show (IDS18) has become a design authority showcasing the latest design trends and innovations from Canada and internationally. Combining hundreds of exhibitors, a line-up of international speakers and a full schedule of expert-lead seminars, IDS18 doesn’t follow the trends – it premiers them. As the show prepares to celebrate its 20th anniversary this January 18-20, 2018, IDS18 has compiled the trends that are shaping the industry in the year to come. From floor tiles to ceiling fixtures, 2018 promises to be a year of leading-edge innovation. 

“As we enter our milestone 20th year, we are paying homage to Canada’s past and the culture that has shaped IDS for the past two decades,” Karen Kang, National Director, IDS Canada. “This year’s theme, Future Forward, will look ahead with predictions on how design will change how we live.”

Modern and contemporary furniture living area created 

by Quebec furniture company Huppé 

Crédit photo : Huppé

Canada by Design

IDS18 is celebrating Canadian designers in a big way. The show will explore the commonalities that could define what Canadian design is: a sensibility that favours restraint over excess, an appreciation of a rationalist and minimalist approach, and a respect for function, materials, and craftsmanship. This year Canadian work will be highlighted by many native design companies. Trends from modern day living, handcrafted hardwood and affordable home furnishings will all be on display.

Dining chair by Bonaldo, 

available at Suite 22 Interiors 

Crédit photo : Bonaldo

The Ultimate Kitchen

As the old saying goes, “the kitchen is the heart of the home.” In thinking about the future of this space, IDS18 will focus on the innovation, high tech appliances and quality finishes found. New materials and textures will add that extra slick finish the kitchens of the future.

Caesarstone’s Cloudburst Concrete provides 

a quartz quality concrete look 

Crédit photo : Caesarstone

Refined Ruggedness

Hard surfaces with a harsher mixed stone look will be the go-to-trend for homeowners looking to make a statement. Expect to see unconventional materials, such as concrete, take over everything from flooring to countertops. 

Light it Up

Lighting continues to shine at IDS18! Designers from all corners of the globe are debuting fresh interpretations and innovative ideas to bring more than just light to a room.

Lambert & Fils’ IDS debut will dazzle with innovative feature lighting 

Crédit photo : Lambert & Fils

ANONY, winner of last year’s best studio north collection returns to IDS 

Crédit photo : ANONY

Curves

The new shape trending this year is modern curves which add soft lines to contemporary spaces. Exhibitors will showcase distinctive artistic shapes, detail craftsmanship and inspiring ideas for living spaces.

Modern Wood

Gone are the days of live edge. This year’s wood pieces are sophisticated and sleek – a true testament to the relationship between 2018 craftsmanship and contemporary design.

Kastella has mastered the art of utilizing wood for a modern finish

Crédit photo : Kastella

Statement Details

Like statement jewelry pieces in fashion, jewelry inspired details are popping up in the home. Lighting, furnishings, tiles and hardware are all taking on geometric cut-outs and peeks of metal detailing. 

For more information: toronto.interiordesignshow.com