Photo by Justin Wonnacott of Annie Thibault working in the biology lab at Carleton University

Photo by Justin Wonnacott of Annie Thibault working in the biology lab at Carleton University

ANNIE THIBAULT (MFA '16) Artist Talk, Carleton University Art Gallery

La chambre des cultures: Annie Thibault, Emily Falvey and Myron Smith in conversation
Tuesday, 21 November, 7:00 p.m.

Where and how do art and biology intersect? Join us for a cross-disciplinary conversation featuring Gatineau-based artist Annie Thibault, Montreal-based art historian Emily Falvey and Carleton biology professor Myron Smith, moderated by Heather Anderson. 

Using the laboratory as a site for artistic research and experimentation this past year, Annie Thibault was artist in residence in a pilot project co-hosted by CUAG and the Department of Biology at Carleton University.

This event is organized in conjunction with Annie Thibault's current exhibition, La chambre des cultures, foraging in time and space.

ADMISSION is free and everyone is welcome! CUAG is an accessible space, with barrier-free washrooms and elevator.
 

Zibi Proposal 1, Oil and acrylic on canvas, 12" x 16", 2017

Zibi Proposal 1, Oil and acrylic on canvas, 12" x 16", 2017

DAVID KAARSEMAKER (MFA '14), Solo Exhibition, PORTAGE at Galerie Montcalm, Gatineau

Portage
Galerie Montcalm, 25 Laurier St., Gatineau (Inside the Maison du Citoyen - across from the Museum of History)
October 11 - November 26
Vernissage: October 11, 7-9 pm

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HANDMADE ASSEMBLY, with DEBORAH MARGO, Professor of Painting & Sculpture

A Handmade Assembly is a community event that brings together artists, curators, and others from the region and beyond to lead discussions, facilitate workshops, initiate projects, open exhibitions and share in a common thread, the handmade. A Handmade Assembly is organized collaboratively by the Owens Art Gallery and Struts Gallery & Faucet Media Arts Centre with the support of the Fine Arts Department at Mount Allison University in Sackville, New Brunswick.

Now in its seventh year, the Assembly is a response to the significant number of artists who have in recent years been using materials and processes that are laborious, often intimate, and usually associated with traditional craft methods. In the process, Sackville has become a centre for the appreciation of the handmade in contemporary culture and a venue for artists to discuss their practices and make new and necessary networks.

The Assembly interprets the ‘handmade’ in the widest terms, embracing interdisciplinarity and wide-ranging critical inquiry. Artists as diverse as David Hoffos, Karen Reimer, Jerry Ropson, Séripop, Ray Fenwick, Sandy Plotnikoff, Janet Morton, Yoko Homareda, Daniel Barrow, Graeme Patterson and others have participated. Curators, academics and writers including Mireille Eagan, John Murchie, Sarah Quinton, Jayne Wark, Janine Rogers and Danielle Hogan have also participated, offering their reflections on the handmade in contemporary practice at a wrap-up session on the last night of the proceedings. Another important component of the Assemblyis the Heart & Pocket Revue, a crafters market supported by artists and crafters from Sackville and around the region.

Deborah Margo: Born in Montreal, Deborah Margo lives in Ottawa. She has a Bachelor of Fine Arts from Concordia University (Montreal) and a Master of Fine Arts from Temple University/Tyler School of Art (Philadelphia). She has also studied at the Haystack School of Crafts (Deer Isle, Maine) and Banff Centre (Banff, Alberta). She is a faculty member in the Department of Visual Arts at the University of Ottawa where she teaches painting and sculpture. During the spring and summer months she works as a gardener. Margo's work combines different disciplines including sculpture, textiles, and ephemeral installations, questioning architectural, historical and environmental contexts of public and private spaces. Her working process is both conceptual and intuitive, based on research yet open to so-called accidents. Time, change, and touch are key preoccupations. Since 1984, Margo has exhibited in Canada, Mexico, and the United States, participating in solo and group projects. Current preoccupations include an outdoor sculpture and sound installation made with multi-media artist Annette Hegel. Following the flight paths of bumble bees, Apidictor Symphony is located in Fieldwork's meadow, in Maberly, Ontario. In addition, she is currently working on an new body of work entitled Making Colour. Its first iteration will be exhibited at the opening of the Ottawa Art Gallery's new building in December 2017.

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TOMBÉES DANS LES INTERSTICES, Publication, Co-Authored by PENNY COUSINEAU-LEVINE, Professor of Theory

LANCEMENT DE LA PUBLICATION
Tombées dans les interstices : Un regard actuel sur l’apport de quelques femmes artistes à l’Acadie contemporaine
Et table ronde avec la commissaire Elise Anne LaPlante et les auteures invitées Penny Cousineau-Levine et Nelly Dennene. 
Le vendredi 29 septembre à 17h, à la Galerie d'art Louise-et-Reuben-Cohen
Cette publication a été rendue possible grâce au soutien financier du Conseil des arts du Nouveau-Brunswick, de la Galerie d’art Louise-et-Reuben-Cohen et de l’Institut d’études acadiennes de l’Université de Moncton. 


PUBLICATION LAUNCH
Tombées dans les interstices : A contemporary look at the contribution of a few women artists to modern-day Acadie.
And a public discussion with the curator Elise Anne LaPlante and the authors Penny Cousineau-Levine and Nelly Dennene. 
Friday September 29th @ 5PM,
Galerie d'art Louise-et-Reuben-Cohen
This publication was supported by the New Brunswick Arts Board, the Galerie d’art Louise-et-Reuben-Cohen and the Institut d’études acadienne of the Université de Moncton.

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A CRIMP IN THE FABRIC: Situating Painting Today, two-day Symposium on Painting taking place Vancouver, featuring JINNY YU, Professor of Painting

Painting has been an object of pleasure, debate and commerce for centuries. Recently it has been the subject of much critical writing, several major publications, provocative exhibitions, and international symposia. While painting in Vancouver has always been aware and informed, and a part of current debates nationally and globally, the symposium organizers feel that there is a real need now, from the position of Vancouver, for a platform and venue to reflect upon and contribute to the knowledge and wisdom of current international painting practices.

The symposium is an opportunity for artists, writers, curators, students, educators and thinkers to come together, and question the relevance and importance of painting today. It will be an opportunity to listen to and discuss issues arising from various and diverse artistic positions represented by panelists, in the context of the many concurrent painting exhibitions occurring throughout Vancouver.

Beginning with an evening lecture by the internationally prominent keynote speaker, Isabelle Graw, who will situate a particular set of questions regarding contemporary painting, on the following day there will be four panel discussions, each one dealing with a different question in painting and its praxis with opportunities for the audience to engage in question periods.

This symposium is a timely opportunity to stage a public and academically driven discussion on painting today. In addition to the exhibition Entangled: Two Views on Contemporary Canadian Painting at the Vancouver Art Gallery opening at the time of the symposium, a citywide set of exhibitions about painting will also take place in public and commercial galleries in the autumn of 2017.

PANEL:
In the Studio: Painting as Thinking; Painting as Conversation
WITH:
Jessica Groome
Sandra Meigs
Jinny Yu
Alison Shields

In this conversation, painters think out loud about their creative processes and the relationship between thinking and making through studio work. By discussing the process of making in the studio the presenters will reflect on what the now commonly used phrase “thinking through making” means for them. In talking about the process of painting, the artists reflect on their approaches to materials, shifts in practice over time and painting as a means of engaging with personal, social and political ideas. Moderated by artist and educator Alison Shields, this discussion arises from her doctoral research, in which Shields traveled cross-Canada interviewing over 125 painters in their studios.

JINNY YU's ’s practice is an inquiry into the medium of painting as a means of trying to understand the world around us. Her work presented during the 56th Venice Biennale addresses important themes about migration, which resonate with larger political concerns globally. She will discuss how, in her studio practice, she challenges the materials and formats of painting. Yu works simultaneously to scrutinize conventions and to explore new possibilities within the medium, oscillating between the fields of the abstract painting and the object. Yu brings a different regional and international perspective on painting from the other panelists who all have strong ties to West Coast painting discourse. Born in Seoul, South Korea, Yu studied at Concordia University (BFA) and York University (MFA/MBA) and is an Associate Professor of Painting at the University of Ottawa.  Her work has been shown widely, including exhibitions in Canada, Germany, Japan, Italy, Portugal, South Korea, UK and USA.

AM Dumouchel, Flesh and Stones, 2017

AM Dumouchel, Flesh and Stones, 2017

AM DUMOUCHEL (MFA'14) Artist talk with Michael Schreier

Thursday, September 28, 7 p.m.
Bilingual presentation at Daïmôn 78 Hanson Street, Gatineau. Free admission.

The artists AM Dumouchel and Michael Schrier will be speaking of their practices in the context of Continuum, the photographic exhibition at Karsh-Masson and of the tradition of the Karsh Award.
 

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GILLIAN KING (MFA '16), Artist Talk, OAG ANNEX

Tuesday, September 26, 2017 at 6 PM | Free
Councillors Lounge at City Hall
110 Laurier Avenue West
Ottawa, ON, K1P 1J1Canada

This event will take place in the Councillors Lounge at City Hall (110 Laurier Avenue W, Ottawa).Join artist Gillian King for a look at her new work, past trajectories, and life after MFA. Refreshments will be served.

Gillian King is a painter from Winnipeg, Manitoba. A recent graduate of the University of Ottawa’s Master of Fine Arts program, King’s thesis exhibition Becoming Animal was featured at the Ottawa Art Gallery in 2016.

King is the recipient of the 2017 RBC Emerging Artist Award. Her paintings have been exhibited nationally and internationally, including Megacaldera (2017), an exhibition at the University of Wisconsin-Marinette Fine Art Gallery, Curing Soil (2016), PDA Projects, Ottawa, Peau/Skin (2017) at La Maison des Artistes, Winnipeg, ab Next(2017), Robert McLaughlin Gallery, Oshawa, among others.

She is the recipient of the 2017 Nancy Petry Award, an annual juried prize awarded to support artistic research in Europe for one year. King plans to use the funding to live and work in Berlin, Germany in 2017-18. She will also be completing an independent artist residency at NES in Skagaströnd, Iceland in 2018.   

Location: Councillors Lounge at City Hall (110 Laurier Avenue W, Ottawa)
Contact: public@ottawaartgallery.ca

JULIA MARTIN, You look how I feel, photographs, inkjet prints, 30x40" each

JULIA MARTIN, You look how I feel, photographs, inkjet prints, 30x40" each

JULIA MARTIN + ANNE MARIE DUMOUCHEL (MFA's 15/16), Group Exhibition, Continuum at Karsh-Masson Gallery

Continuum: Karsh Award artists welcome a new generation
Curator: Melissa Rombout

September 14 to October 22, 2017
Vernissage: Thursday, September 14, 5:30 to 7:30 pm
Tour with the curator: Sunday, September 24, 2 pm

Artists: Joi T. Arcand, AM Dumouchel, Leslie Hossack, Olivia Johnston, Julia Martin, Meryl McMaster and Ruth Steinberg

This special exhibition honours the artistic legacy of Yousuf and Malak Karsh while continuing an intergenerational chain of mentorship that fosters camera-based innovation.

Catalogue excerpt

Continuum is a project based on connecting many moments in time. It was conceived as a way to celebrate a new wave of emerging Ottawa artists during Canada’s sesquicentennial year. Recipients of the City of Ottawa’s prestigious Karsh Award were invited to choose a local Ottawa artist working with photography as a medium, a relative newcomer to stand in the spotlight.

The Karsh photographers, innovators stylistically, gracious in comportment and masters of film-based photography, would no doubt be astonished and delighted by the myriad of camera-based practices in this exhibition, and their roles as progenitors of a chain of connection radiating outward. These common threads of welcome entwine here.

- Excerpt from the essay by Melissa Rombout

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JINNY YU, PROFESSOR, Group Exhibition

15 Sept – 18 Nov ¦ Self-Abstraction
Canada Gallery, Canada House, London ¦ The Canada Gallery’s new exhibition brings together artists Jannick Deslauriers, Cal Lane, Marie-Eve Levasseur, Nadia Myre and Jinny Yu. Through a variety of innovative techniques, these five female artists look outward to situate themselves in the world. In an era characterised by an excessive proliferation of self-portraits, the artists deploy counter-strategies to represent themselves in their work. Mon-Sat, 11am – 5:45pm. 

Bottom Left: Lindsey Wilson, Kizi Spielmann-Rose, Sharon VanStarkenburg, John Ancheta, Zoltan Veevaete, Sam Loewen. Top Left: Pierre Richardson, Tiffany April, Michael Belmore, Emma Carney, Jessica Hoflick, Mat O'Hara, Jonathan Théroux, Kyle Bustin, Michael Ashley. Not pictured: Sarah Fuller

Bottom Left: Lindsey Wilson, Kizi Spielmann-Rose, Sharon VanStarkenburg, John Ancheta, Zoltan Veevaete, Sam Loewen. Top Left: Pierre Richardson, Tiffany April, Michael Belmore, Emma Carney, Jessica Hoflick, Mat O'Hara, Jonathan Théroux, Kyle Bustin, Michael Ashley. Not pictured: Sarah Fuller

HELLO AND GOODBYE: WELCOMING NEW MFA CANDIDATES AND BIDDING FAREWELL TO GRADUATES 

The University of Ottawa would like to welcome its new MFA Candidates: Tiffany April, Michael Belmore, Emma Carney, Jessica Hoflick, Mat O'Hara and Tommaso Cuccia (en route to Canada), as we fondly send off our talented Graduates: Lindsey Wilson, Kizi Spielmann-Rose, Jonathan Théroux, Kyle Bustin, Michael Ashley and Sarah Fuller (not pictured). We look forward to the wonderful things you will do.
We also greatly anticipate the year of work culminating in thesis exhibitions of our now Second Year MFA Candidates: Pierre Richardson, Sharon VanStarkenburg, John Ancheta, Zoltan Veevaete, and Sam Loewen.
Congratulations to all on everything you have accomplished within our program! 
We will be updating our candidate pages with incoming First Years and the thesis documentation of Graduates in the coming week.

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ANNIE THIBAULT (MFA '16), Solo Exhibition, La chambre des cultures, foraging in time and space, CUAG

Curated by Heather Anderson
11 September – 03 December 2017

Returning to the lab as a site for artistic research and experimentation, Annie Thibault is artist-in-residence in a pilot project hosted by CUAG and the Department of Biology. With the collaboration of Dr. Myron Smith, Associate Professor in the Department of Biology, Thibault is cultivating Armillaria and several other basidiomycota (filamentous fungi composed of hyphae). Where Thibault has worked previously with mushrooms—the fruiting bodies of fungi—in this project she cultivates the organism’s fascinating underground mycelium network through which it shares information and nutrients. Continuing her work in drawing, video and installation, and merging exhibition, lab and studio, Thibault is working with this living organism as agent and material.

MFA SUMMER CRITS HIGHLIGHTS: SHARON VANSTARKENBURG

First Year MFA Candidates have completed the first year of their studies, culminating in summer critiques. Sharon Van Starkenburg has produced a prolific body of work during her studies.

Statement:
My current work addresses tropes of Western girlhood and womanhood; I am problematizing normative femininity, body policing, and the acculturation into desiring and being desirable. Anchored in narrative, I am interested in psychological states that are presented in an allegorical way through paint. I am co-opting the female body back into the discussion of art with frank representations of bodies and postures that speak to the performance of body, of gender, and of femininity. In my figures there is a coupling of apprehension/ambivalence with adroitness/mastery, which is unsettling as the works provoke and question, rather than offer conclusions. The figures generally seem composed for viewing, sometimes self-consciously, keenly aware that they are posing and performing. Frequently their bodies are strange and unruly, perhaps to compensate for the tasks they must perform. In this way the psychological becomes manifest in the representation of something physical: the body can produce doves or diamonds, a hand can become grossly enlarged to contain duties, or a head can become almost disconnected. Gaze relations are also addressed and referenced in the work, either with direct eye contact from a figure or an emphasis on sight.

I am interested in the accoutrements of the liminal spaces and times in the life of a woman; the transitions/rites of passage and the markers of those, and the signifiers of the new status. Examples are tiaras, pearls, ceremonies related to bodies, changing physiognomy, and costumes/uniforms. My work is blasphemous as I take symbols of proper, normative femininity and make them transgressive within contexts in which the female protagonists resist and reinvent their meanings.  I am making use of uniforms that recall clubs or associations in which girls and women work together, apparently to better themselves, but often insidiously in support of the status quo. In particular, I am referencing the religious Puritanical group for girls I belonged to as a child in a fundamentalist Christian church, the Calvinettes. I am connecting my youth with contemporary girlhood and making narrative associations with a sympathetic sister-gaze. As well, I exploit religious symbols and make sacrilegious conflations between miracles and magic in an attempt to make sense of the input from various bodies of authority alongside specifically female embodiment and experience. It is important for me that the work conveys autonomy, but that this self-determination is precarious.

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GROUP EXHIBITION WITH FIRST YEAR MFA MICHAEL BELMORE REVIEWED BY MURRAY WHYTE

A review of the Exhibition Every.Now.Then: Reframing Nationhood, including Michael Belmore, by Murray Whyte of the Toronto Star

JONATHAN THÉROUX, MFA Thesis Exhibition: TOUR, à/at Galerie Karsh-Masson Gallery

Galerie Karsh-Masson Gallery
Ottawa City Hall
110 Laurier Ave. West
Vernissage August 24, 5:30-7:30pm
August 19-29, 2017

Inspiré par le potentiel allégorique et symbolique de l’assemblage d’objets dans l’espace, l’exposition multidisciplinaire Tour présente le tâtonnement comme procédé de recherche sur le langage et sur la formulation de sens. L’exposition avance les techniques de la peinture, de la sculpture et vidéos.
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Inspired by the allegorical and symbolic potential for assembling objects in space, Tour utilizes painting, sculpture and video to present trial and error as the process used in language and meaning-making research.

 

MICHAEL ASHLEY, MFA Thesis Exhibition, FALLING: THE PAST IS ALWAYS PRESENT, Studio Sixty-Six

Presented with the University of Ottawa, Studio Sixty Six is pleased to present Falling: The Past is Always Present, the thesis exhibition of MFA Candidate and new media artist Michael Ashley.

OPENING RECEPTION: FRIDAY, AUGUST 25, 6-9PM
 

In this body of work, I ponder the mechanisms of memory and study the power of images by appropriating and re-presenting historical media related to the First World War. Stimulated by the centenary of what was originally called “The Great War”, this work considers the conflict as a crisis of modernity, and suggests that its echoes reverberate into the present.

The products of modern industry, such as rapid-fire artillery, the machine gun, armoured vehicles, and chemical weapons, made World War One the first large-scale industrialized conflict and caused destruction on an unprecedented scale. Innovations like the use of airplanes literally moved armed conflict into a new dimension. Aviation technology advanced rapidly during the war years and individual pilots were presented to the public as knights of the air, the heroes of a new era. This was essential to the propagandists because the meat grinder of trench warfare offered few opportunities for individual distinction. But ultimately, the invention of the airplane also implied the invention of the crash, an especially devastating development at a time when parachutes were unavailable.

Many pilots’ memoirs attest to the fear of a fiery crash. Many wondered whether it was better to stay in a burning plane or airship and risk being incinerated or jump and ensure a cleaner demise. This dilemma is illustrated in a painting called “The Fall” from the collection of the Canadian War Museum. In it, a German aviator has chosen to jump free of his burning aircraft. The imagery of falling touches on the casualties of war, referred to as the fallen, as well as biblical imagery of the fall, the fallen angels, and the fall from grace. The materialist religion of modernity is based on faith in science and technology, which can contribute to the pride that leads to such a fall. The myth of Icarus is a tidy encapsulation of this motif.

I use audio-video installation in this work. These time-based media are most appropriate because they allow me to re-use still images, film, and songs from the 1914 to 1918 era and re-present them in an evocative way. Historical images and sounds help recreate the ambiance of the era and their presentation using temporal media emphasizes the passage of time and the fading of memory. Using audio-visual material in an installation provides the audience with a multi-sensory experience that implicates them physically and enhances the artwork’s affective quality.

I would like the viewers of my work to consider the precarity of human life; to reflect on the hubris that leads to destructive conflict; to question the role of technology in culture; and to feel the passing of time while understanding the immanence of the past.

 

My work can be interpreted as a condemnation of the glorification of war and a critique of blind-faith in progress.

 

Sarah Fuller, Panorama, Old Tree, 2017, Archival Inkjet Print, 120” x 43”.

Sarah Fuller, Panorama, Old Tree, 2017, Archival Inkjet Print, 120” x 43”.

SARAH FULLER, MFA Thesis Exhibition: And perhaps in me someone very old still hears the living sound of wood

The OAG Annex presents MFA candidate Sarah Fuller's thesis exhibition: And perhaps in me someone very old still hears the living sound of wood
August 18 – September 24, 2017
OAG Annex, 110 Laurier Avenue West, Ottawa

Opening Reception: Thursday August 24, 2017, 5:30 – 7:30 pm (TBC)

A landscape, a record – carved out, reverberating through time and timber. 

In the 19th century the old growth white pine trees of the Ottawa valley were logged extensively and shuttled downriver for export. Driven by the British Navy’s demand for lumber, the wholesale extraction and shipment of ancient trees across the Atlantic Ocean was a tangible manifestation of a colonial ideology that laid the foundation for Canada as a nation.

I think of those trees often. What did it feel like to bob down river and roll across the sea?  What did they looklike – what did this land look like with them in it?

What a loss this is.

In this exhibition I use photography, video, sound and installation to create space in which to meditate on the trees that were once here and the persistent mark their extraction has left on the current landscape.

- Sarah Fuller

KIZI SPIELMANN ROSE, MFA Thesis Exhibition, Pulse at Karsh-Masson Gallery

Karsh-Masson Gallery
Ottawa City Hall
110 Laurier Ave. West
August 5-15
Vernissage August 10, 5:30-7:30pm

In Pulse, Kizi Spielmann Rose presents a series of paintings whose undulating surfaces are reminiscent of rippling water and topographic mapping. They are created through a process of layering multiple coats of pigment atop one another and finally etching through the top layers to reveal the bottom. Serpentine lines carve their way through oil stick, revealing hues of oil pastel beneath. The topographic illusion is produced as the lines approach and retreat from each other, tracing the contours of some unspecified terrain. These works share an affiliation with the modernist tendency towards procedural and material-driven abstractions that foreground the painting as object, but simultaneously complicate this by embracing a kind of pictorialism through visual allusions to light, liquid, and mapping.  The paintings on view in Pulse vary widely within the theme. A network quality exists between these works, where similar materials, procedures, forms and techniques are stretched, manipulated, and experimented with in order to produce difference within repetition and a sense of rhythmic variation between discreet paintings. 

Kizi Spielmann Rose is a graduate student in painting at the University of Ottawa, and holds a BFA from NSCAD University. Recent exhibitions include Fresh Paint/New Constructions at Montreal’s Art Mûr gallery and Wild Wild Life, a solo graduate exhibition at Anna Leonowens Gallery in Halifax. Accolades include a Social Sciences and Humanities Research Council grant and the Robert Pope Foundation Painting Scholarship. www.kizispielmannrose.com/