Join us for free exhibition tours and drop-in art making events for families. All ages are welcome!
2015 Free Family Day’s at the Contemporary Art Gallery
Saturday, May 30 and June 27
On the last Saturday or each month, the CAG invites all ages to drop-in for short exhibition tours and free art making activities that respond to our current exhibitions.
May 30: Material Play
Responding to Dault’s playful sculptural works participants will create their own assemblages.
June 27: No Paint Brushes Allowed
Responding to Dault’s experimental painting practice participants will play with similar techniques, creating improvised paintings made with unconventional tools such as forks, combs, toothbrushes, cotton balls, etc.
On the last Saturday of every month, the CAG invites all ages to drop-in for short exhibition tours and free art making activities that respond to our current exhibitions. This new initiative is presented in collaboration with ArtStarts on Saturdays. For more information visit: http://artstarts.com/weekend
Blame It On the Rain
May 1 to June 28, 2015
BC Binning and Alvin Balkind Galleries
The Contemporary Art Gallery presents a major solo exhibition by Toronto-born, New York–based artist Julia Dault. Through a selection of new and recent works, the exhibition reveals the importance to Dault of balancing spontaneous gesture with responsiveness to rules, logic and the constraints of materials. Physical negotiations are central to Dault’s textured paintings and improvised sculptures; both are exhibited in Blame It On the Rain.
Dault is interested in ‘embodied knowledge’ — how making is thinking — and reinserts the artist’s hand into a minimal aesthetic primarily interpreted as distanced and industrial. The artist’s rule-based painting involves responding to mass-produced elements — patterned silks, pleather, unmixed paint straight from the tube — with unconventional tools, such as squeegees, rubber combs and sea sponges. The limitations of these objects create quasi-standardized gestures that allow Dault to skirt the line between expressive abstraction and cool, machine-like facture. Erasure of her paintings’ topmost layers, which allows viewers to ‘see into’ the painting process, is as important to Dault as paint application.
Exploration of artistic labor recurs in Dault’s sculptures. Always improvising on site and working alone, the artist manipulates and coerces Plexiglas, Formica and other industrially produced materials into imposing curved forms, then affixes them to the gallery wall using straps and cords. Dault’s efforts can be understood as ‘private performances’ in which her physical capabilities are juxtaposed with the properties of the materials she employs. Each sculpture is titled with a time stamp that reflects the duration it took to complete the piece. In this gesture, as with her paintings, she hopes to underline the durational nature of the art-making process.
Dault’s work fuses the emphasis on process found in both Abstract Expressionist painting and post-Minimal sculpture. One unifying element is the artist’s fascination with patterns, and with the slippages and imperfections that reveal the human origins of what appears mechanical. Another is the search for variety within strict limitations. By devising expressive gestures through rules and reasoning indicative of post-Minimal and Conceptual art, Dault is part of a generation of artists acknowledging histories and legacies of art making while revitalizing abstraction today.
The exhibition complements Color Me Badd, presented at The Power Plant, Toronto in 2014-2015. The two institutions are working together on the first major monograph of Dault’s work, to be published by Black Dog Publishing later in 2015. The publication is made with generous support from the RBC Emerging Artist Project.
Julia Dault lives and works in Brooklyn, New York. She has held solo exhibitions at Marianne Boesky Gallery, New York (2015); The Power Plant, Toronto and China Art Objects Galleries, Los Angeles (2014); Galerie Bob van Orsouw, Zurich and Jessica Bradley Gallery, Toronto (2013); and White Cube Bermondsey, London (2012). She has also participated in group shows which include: Elevated, Art Gallery of Ontario, Toronto (2014-2015), Americana: Selections from the Collection, Pérez Art Museum, Miami (2013–2014); Outside the Lines, Contemporary Arts Museum, Houston (2013–2014); In the Heart of the Country, Museum of Modern Art, Warsaw; Inner Journeys, Maison Particulière, Brussels (2013); The Ungovernables, New Museum, New York; Roundtable, the Ninth Gwangju Biennale, South Korea (2012); and Making Is Thinking, Witte de With, Rotterdam (2011). Her work is in the collections of the Art Gallery of Ontario, Toronto; Museum of Modern Art, Warsaw; Pérez Art Museum, Miami; Saatchi Gallery, London; and the Solomon R. Guggenheim Museum, New York.
Dault is represented by Marianne Boesky Gallery, New York; Jessica Bradley Gallery, Toronto; and China Art Objects Galleries, Los Angeles.MORE
On Friday, April 10, 2015 and in conjunction with the Canadian Art Foundation Vancouver Gallery Hop, the CAG hosted a talk by Canadian Art associate editor David Balzer based on his latest book ‘Curationism: How Curating Took Over the Art World and Everything Else’.
David Balzer is a Toronto-based critic, editor and teacher. He has written for The Globe and Mail, Modern Painters, Camera Austria, artforum.com, The Believer and others, and is the author of two books, the short-fiction collection Contrivances (Joyland/ECW Press) and the non-fiction study ‘Curationism: How Curating Took Over the Art World and Everything Else’ (Coach House Press/Pluto Press).MORE
The CAG has invited artist, deejay and movement based therapist Tad Hozumi to create a series of feedback events and workshops in response to Julia Dault’s paintings in her exhibition Blame It On the Rain.
His upcoming series of music and movement workshops and events will playfully reference elements found in her work.
Here Hozumi writes, the first in a series of blog reports, about his work and about preparing for the events and workshops:
Last weekend I installed a listening station for a selection of funk and disco vinyl records in the CAG bookshop (see above image). This listening station is part of my feedback response to the current exhibition: Julia Dault’s Blame It On the Rain. My initial task was to curate a selection of records that responded to Dault’s works and that served as the inspiration for a series of workshops. The curatorial method I undertook was really simple: Rhythms x Patterns x Geometry x Materials. Dault’s eye is similar to that of a crate-digger, she is constantly scanning the visible ‘debris’ in our environment for moments of resonance.
Crate-digging, if I can give the most romantic definition, is the practice of scouring through dusty bins of long forgotten music to unearth rare or special records. There are a lot of great crate-diggers out there, including Japan’s DJ Muro or Vancouver’s own Sipreano, who recently released Native North America Vol. 1 – Aboriginal Folk, Rock, And Country 1966–1985, a project that I am sure will go down as something of historical importance in our time.
Not all crate-diggers have an active public life, deejay or compile music. If I had to guess most are actually very private, sharing their collections with a few people who are willing to bear them in order to get a sneak peak at an unknown gem. There is one thing I am pretty sure of, digging while mysterious, certainly is not glamorous.
As a crate-digger, I’m just a baby. It’s exciting, because almost everything I come across is new to me. Perusing bins at a thrift shop will almost always turn up some new discoveries. I used to think I had a pretty good handle on music. I was wrong. I think the current statistic is that over 80% of recorded music on vinyl is unavailable digitally. So crate-digging can expand the musical world you live in quite a bit.
The record in the above picture (click on the arrow for the slideshow) is Outline – Gino Soccio. A really top notch Montreal disco record. It was actually one of first five records I randomly bought in a thrift store. Man, I was happy when I first heard the slick beat on Dancer. Somehow I felt like this omniscient being who could magically discover dope records. Being able to visually locate the sensibility of an album without any audio information is a big part of crate-digging.
After I bought Soccio’s album, when I was about 1,000 records deep in to my collection, I realized that the album was pretty common. A great album for sure, but not necessarily a spectacular or rare find that I thought I had made. I now have three copies of Outline and a 7” of Dancer. Still, I have a lot of emotions attached to Soccio’s first release.
Any ways, you can listen here to Dancer. A real classic. Thumping.
Other albums selected for this project are:
Extensions of a Man- Donny Hathaway
Encounters Of Every Kind – Meco
Sweet honey: in the rock (Self-Titled)
A Fifth of Beethoven – Walter Murphy
Live Oblivion – Brian Auger’s Oblivion Express
I hope you will come by the CAG and enjoy listening to the above records in person
This is my music + vinyl blog.
- Tad Hozumi
Saturday, June 6th, 4pm
Yoga Boogie, a unique hybrid practice developed by Quon combines his passion for dance and yoga. Using songs curated from Hozumi’s collection, Quon will lead a dynamic session that will begin on the mat and get you up and grooving! Be prepared to BOOGIE!
Gary Quon is a yoga practitioner who specializes in Kundalini style and a well-recognized disco dancer (waacking). Quon’s practice often incorporates elements of rhythm and dance along with the kriyas resulting in an uplifting and energetic practice.
*This session will be available for the first 15 people – Please register to save your spot at learning@contemporaryartga
*Please bring your own yoga mat.
Sat, June 13th, 4pm
This movement-based session is about becoming mindful of how music and visual stimuli resonate within our bodies, by letting impulses that we discover from the music and Dault’s artworks move us around the gallery space.
*This session will be available for the first 15 people
Artist Talk and DJ Session
June 27th, 4pm
Music Back Ground (talk) and Back Ground Music (party). Hozumi will speak about fan videos of Mariah Carey, deejaying indie dance parties in the 2000s, making video game music, finding himself in hip hop and (re)discovering crate-digging. After the talk he will play a deejayed set of some unique records from his collection of jazz, soft pop/rock, disco, funk and more, weaving around the albums that were selected for the feedback series.