Prospect 2: Kelly Mark Works
This exhibition recreated the utilitarian space of the artist’s live-in studio, suggesting references to work as task and the concept of "a work."
This exhibition recreated the utilitarian space of the artist’s live-in studio, suggesting references to work as task and the concept of "a work."
This exhibition placed the work of two contemporary Canadian women in the context of American postminimal art making of the 1960s and ’70s.
Like her predecessors in the Prospect series, Sarra McNie has constructed a version of herself — a persona — which then inhabits her work as subject matter.
Field Notes consists of pieced fabric constructions which combine stitched, dyed and painted cloth, in compositions that blend abstract formal qualities with references to rural Ontario landscape.
Ferguson's work is composed of 100 square, stretched canvases stencilled in black with an irregular, dot-like motif (or 10,000 "grapes"), installed in a closely spaced grid.
Ninety-six colour photographs of the backs of envelopes used for the mailing of death notices in France in the late 19th and early 20th centuries.
The exhibition presented 30 of the colour photographs resulting from Charlotte Lindgren's Winter 1995-96 train journey, during which she photographed private and public gardens at each stop.
This show includes paintings and drawings produced since 1983, which re-enact nature's creativity rather than mimicking natural appearances.
The monumental shaped paintings of the 1980s and ’90s are luminous, monochromatic fields, often pierced in the centre and bounded by built-up edges resembling torn flesh.
Elspeth Pratt is known for her inventive use of building supplies and her interest in leisure as it correlates with the built environment.
Pulse brings experimental film into dialogue with contemporary abstract painting by presenting the two art forms adjacent to one another in the same gallery space.
Suzanne Swannie is a Halifax-based designer and weaver who creates functional textiles, tapestries and large architectural installations for private and public environments.
This exhibition acknowledges the centrality of drawing to Ron Shuebrook’s practice. Representing over 30 years of production by the artist, Drawings has much to teach viewers about process.
Operating within the tradition of the artist/typographer/designer, Robert Tombs' practice incorporates print, photography and site-specific installation. The body of graphic work presented in this exhibition represents Tombs’ collaborations with numerous artists, writers, artist-run centres, art galleries, academic presses and printers to create books and artist-related publications.
Tove Storch’s first solo exhibition in North America follows a three-week production residency in the Art Gallery.
The spatial effects of Melanie Authier’s abstract paintings show how artists can engage with the art of the past and transpose it into their own visual language.