2010 Commissioning Program and the PowerPlant, showing stunning wallsized woven tapestries of textured smoke and paper, by Pae White titled : Pae White: Material Mutters
At the closing of this show, the PowerPlant will undergo a massive re-looking. Including renovations to the physical building interior, refreshing the branding strategy, and online personality. Looking forward to the relaunch March 2011.
Julian Schnabel is famous for is vibrantly beautiful biographical films Basquiat, The Diving Bell and the Butterfly, and the one of my most favorite films Before Night Falls.
His skill is in capturing the creative energy of his subjects and then building captivating and vivid visual imagery. His masterful cinematography is enhanced by engrossing narratives recounting the stories of these artist-heros.
This survey of his life works, as an artist, Schnabel seems to have only one persistent theme… BIG canvases.
Kelly Richardson is another young emerging Canadian artist working in the theme of man vs. nature technology in her video installation. ArtJetSet saw this piece at Birch Libralato a few years ago, and it was very happy to revisit it at the AGO.
Pulp Fiction at the MOCCA, curated by Corinna Ghaznavi, brings together a group of fourteen artists from across Canada as a means of examining this phenomenon of art practice. Because the work bypasses the space, systems and many of the concerns of Canada’s established institutions, this show developes as an unintelligable dialogue between regional artists with museum standards speaking to a commercial gallery with a strong Canadiana thematic.
The Art Gallery of Ontario reopens
The MOCCA‘s Contact exhibition titled From the Epic to the Everyday is a panoramic dialogue that stretchs accross the world, through different periods, themes, and cultures, discussing their unique identity through image.
From Robert Burley’s documentary photos of the destruction of Kodak Park, Nan Goldin’s hauntingly intimate portraits, Luc Delahaye’s disaster scapes. A phenominal contrast between the redundantly ironic Martin Parr who exhibits middle class England at its worst to Bert Teunissen who photographed elderly couples in their homes, granting the viewer access to these personalities private lives.
Vancouver’s Steven Shearer presents three artistic themes in his colourful exhibition at the PowerPlant. Massive collage of pictures and photocopies archived from off the internet portrait a sublime allusion to the movement looks and attitude of 1970s heavymetal. Taking the form of one large framed montage or entire walls filled with individually framed photos of retouched artifacts, setlists, photos and anecdotes.
Heavy metal hairdoes, youth culture and the proliferation of a subculture on the internet.
Contrastly, Shearer draws (in bic pen) his hardrock heros in a very tender way, and paints them in a style remincent of Edvard Munch.
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