Love Art is Back!

Toronto’s newest alternative art fair is back for its second year. The exhibition is Canada’s incarnation of The Affordable Art Fair which started in London in 1999. The show features a variety of art from local, national and international galleries, in a wide range of prices all for sale below the maximum $10,000 price tag.

For more information on the show, and highlights from last year, check out my post from last year’s show. If you’re interested in attending this year, follow this link for your free general admission tickets. The show starts tomorrow, April 17, and runs throughout the weekend at the Direct Energy Centre.

Take a look at some works that will be featured in this year’s show.

Brandy Masch Mayberry Fine Art Seasside, 2009, Gouache on paper.

Brandy Masch Mayberry Fine Art
Seasside, 2009, Gouache on paper.


HIDE, 2014 by Shari Weschler Rubeck Watercolour Graphite on Paper, 22×16″ Carver Hill Gallery

BADA_Olivier_La plan+¿te pouss+®e par le temps_2008_oil on canvas_40x50in_$5640

La planète poussée par le temps, 2008 by Suzanne Olivier Oil on canvas, 40×50″ Beaux Arts Des Ameriques​

BADA_Duval_2011-2_2011_acrylic on canvas_24x36in_$3185

2011/2, 2011 by Jean-Jacques Duval Acrylic on Canvas, 24×36″ Beaux Arts Des Ameriques

Arteria_MM_Only blue_acrylic and epoxy on wood_40x40

Only Blue by MM Acrylic and Epoxy on Wood, 40×40 Arteria Gallery

Lauchie Reid

It’s taken me a while to get this posted, but the art from this Team Macho founder is well worth looking at and reading about. Check out this article from the winter issue of Magenta Online to read more. Stay tuned for more posts in this new year.


Balint Zsako

This month I was honoured to have the chance to speak to New York based artist Balint Zsako about his practice for a feature article in Magenta Magazine. Read it here

Love Art Preview

My daughter really is becoming a lady-about-town. Last night I had a lovely dinner at Bent on Dundas. Upon our entrance the hostess said “Sterling! I remember your smile from your visits to Mildred’s Temple Kitchen.” Wow. I might have to begin marketing this. That was Sterling’s second evening jaunt of the week. On Wednesday, she joined myself and my husband along with the lovely abstract painter and OCAD/Waterloo instructor Linda Martinello to the evening preview of the Toronto’s inaugural edition of the Love Art Fair.

Lulupa Hutong, Huang Kai, $7869, 134x 94cm This is one of four woodcuts that fit together to create the entire street of a Beijing Hutong- the rapidly disappearing old school communist neighbourhoods.  For more on Beijing's vibrant art scene see this previous post.

Lulupa Hutong, Huang Kai, $7869, 134x 94cm. China Print Art Gallery. This is one of four woodcuts that fit together to create the entire street of a Beijing Hutong- the rapidly disappearing old school communist neighbourhoods. For more on Beijing’s vibrant art scene see this previous post.

I’ve got to say, art fairs really are the way to go with toddlers, as there is so much more art at their level. Not to mention the kid-friendly zones that sometimes happen (the Artist Project sets up a nice space for kids). The “kid zone” was mostly closed for the preview, but Sterling still tried her hand at crayon wall-art- (fun, but not a habit I wish to establish really)


With house red in hand, I was easily able to patrol the relatively small space- a refreshing change from the visual onslaught of Art Toronto- and get a few pics of some of the offerings on display. I’ve included prices in the captions to give all of you burgeoning collectors an idea of what to expect.

Douglas Walker,R-281, Oil on Paper on Canvas on Panel, Framed, 30" x 110", $7500, Parts Gallery. The glossy oil paint combined with the tiled effect tricked me into thinking this whale painting was actually a tiled piece.

Douglas Walker,R-281, Oil on Paper on Canvas on Panel, Framed, 30″ x 110″, $7500, Parts Gallery. The glossy oil paint combined with the tiled effect tricked me into thinking this whale painting was actually a tiled piece.

Douglas Walker, R-282, Oil on Paper on Panel, Framed, 24" x 32", $1900

Douglas Walker, R-282, Oil on Paper on Panel, Framed, 24″ x 32″, $1900


If you haven’t already picked up a two-for-one card at participating galleries (I saw some piled in the window at PM Gallery) use the promo code LoveART241 to order your half price tix online. Also, with Sunday as mother’s day, mom’s get in free with a plus one, and kids under 12 are free also. Perfect place for a mother’s day gift to remember.


Kevin Grass, Suburbia, Acrylic on Panel, 35"x53", $9500, Evan Lurie Gallery

Kevin Grass, Suburbia, Acrylic on Panel, 35″x53″, $9500, Evan Lurie Gallery


Cluca, Day Life Heroes, Oil on Paper, 50"x50", 2014, $8500, Galerie Youn

Cluca, Day Life Heroes, Oil on Paper, 50″x50″, 2014, $8500, Galerie Youn

Jonathan Savoie, Aerial Tokyo #10, Chromira Print edition of 10,  24"x16.5", 2010 Galerie Youn. $1100

Jonathan Savoie, Aerial Tokyo #10, Chromira Print edition of 10, 24″x16.5″, 2010 Galerie Youn. $1100

A first peek at Contact

Sterling enjoyed her first press conference this week. Missing the remarks, I’d venture to say that her personal highlight of the Contact Media Preview was playing tag with MOCCA head of operations Brett Despotovich. She was also particularly entranced by Tundrunning, a looping video by Canadian artist Dominique Rey, which features the artist running through the snow and falling, clad in an absurd fluorescent green costume typical of those created for the series.

Dominique Rey

The figures in the works are all covered in layers of stuffed nylon stockings, sometimes hanging testicularly with filled water balloons or mounds of plush white cellulite. Similar in some ways to Cindy Sherman’s explorations of feminine persona, all of the photos document Rey in various uninhibited attempts to uncover “the other within.” In a short conversation, Rey described how analysis of her previous works unearthed a preoccupation with women on the outskirts of society. Rey has photographed the entire virgin/whore gamut- pretty literally- from documenting a disappearing order of nuns to living with exotic dancers.

Through the pieces on show this May at MOCCA, Rey embarked on the “futile” attempt to uncover the other within herself. Armed with a tickle-trunk of props, the artist travels to remote locations- mostly in her native Manitoba- and frees herself in bizarre posture play.

I was also lucky enough to have a chat with the gentle and engaging young Meryl McMaster. (You can also see some of her work on permanent display in Liberty Village in the foyer of the Mildred’s Temple Kitchen/Goodlife Fitness building) Her photos also feature herself in a variety of identities. The works were inspired by the “solo” portions of two Outward Bound trips she took in her mid-teens. During these adventures, participants are given the knowledge and tools to survive by themselves for three days in the wilderness. Half First-Nations herself, McMaster easily drew the connections between these sometimes boring, sometimes terrifying and ultimately expansive moments to the vision quests routinely embarked upon by native youth.

Wind Play, Meryl McMaster, 2012, courtesy of Katzman Contemporary

Wind Play, Meryl McMaster, 2012, courtesy of Katzman Contemporary

Each of the works in her series are inspired by a diverse interplay of a remembering of personal emotions and the attempt to delve into her cultural history. In Wind Play, McMaster conjures the excited youthful expansiveness of her Outward Bound vision quest into an enchanted personification of a playful beast that easily evokes sasquatches’ own first ecstasy trip. The artist created the costume by sewing together 5000 long balloons (the kind used for making balloon animals).

Contact officially kicks off tonight with an opening party at MOCCA. Tomorrow, join Material Self photographers Namsa Leuba, Dominique Rey and David Favrod for a talk at the gallery at 11:30am. Also, come to the gallery for a tour by curators Bonnie Rubenstein and David Liss on Wednesday, May 14 at 6pm.


Namsa Leuba, Statuette Ndoki, Saleou Guinea, from the series Ya Kala Ben, 2011 courtesy of the artist


Header Image: Dominique Rey, After the Shower, 2011

Looks good on Papier

I may have been just as excited for Sterling’s first train ride as I was for my first visit to Papier 14 this weekend. We arrived late Saturday afternoon, around the same time as the rain. Our late arrival caused me to miss Bill Clarke’s talk at the fair on Friday, and Leah Sandal’s talk on Saturday, though I’ve been catching up with some of their exploits on Facebook… The show was smaller than I had initially envisioned, but I have to give credit to Montreal for it’s wonderful support of the event. The red carpet, mushy and frothing with rain invigorated soap, was well worn by the constant stream of visitors piling into the pay-what-you-can exhibition.


Wren Noble, At the Dance I, DC3 Gallery


Wren Noble, Pigeons 2011, DC3 at Papier 14


Having a toddler in tow inspired us to trade Papier’s ubiquitous glass of wine for one of the biggest and mentionably divine chocolate chip cookies from the café inside the tent. As Le Gallery’s owner and director, Wil Kucey mentioned, the show is an interesting and refreshing cross-section of Canadian art. The work is diverse, and like every fair, there is much to serve varying degrees of taste. While some galleries challenge the definition of “paper based art,” by showcasing novelties, others simply bring out their best in the offerings of drawing, printmaking and photography.


Andre Dubois, sombre crepuscule- read my mind 2014, Galerie BAC


Ted Barker, untitled 2009, Graphite on Paper, Galerie Laroche/Joncas


Erika Dueck, Untitled- the ephemeral mind series 2014, Art Mur


Erika Dueck, Untitled- the ephemeral mind series 2014, detail, Art Mur

Erika Dueck, Untitled- the ephemeral mind series 2014, detail, Art Mur

While there were a few pieces that struck me from galleries farther afield, one of the most exciting parts of the show was previewing some of the impressive summer offerings coming to town to a few of my favourite galleries here in Toronto. At PM gallery, Amanda Clyne’s deconstructions (Excavating Artiface, on now) was hung beside Wil Murray’s series of renovated photographs. Using photographs taken from a book of early travel photos he purchased while living in Berlin (Die Welt in Farben), Murray uses various techniques (collage, painting) to manipulate the photographs and then creates a negative so that he can reprint the photos. They are then hand-coloured and remounted onto their original pages from the book. Powell MacDougall, owner of the gallery, was excited about the recent purchase of three of these unique works into the RBC collection.


Wil Murray’s work at PM Gallery, Papier 14

At Le Gallery, a massive example of one of Tristram Lansdowne’s surreal landscapes was unmissable. Two smaller works by the young artist, who was recently accepted to do his Master’s program at RISD, show eager experimentation into less narrative work. (Unfortunately I doubt his path will cross with his talented friend and Le colleague, Amanda Nedham who will likely be finished her current studies at the institution). Also of note were the grotesque Asian scroll works by artist Howie Tsui.

Finally, Balint Zsako’s mix and match drawings, displayed on a thin shelf running across the centre of Mulherin’s booth, created a minimalist space that drew instant attention in its contrast with the other galleries at the show. Each of the small framed watercolours, which are sold exclusively in pairs or larger denominations, is created to fit together seamlessly with any of the other works from the series. Apparently, the artist came to Katherine Mulherin with the concept days after the gallerist was approached about coming to the fair for her first time. Zsako, who was in attendance at the fair, will return home to complete the series which will exhibit all summer.

Balint Zsako's work on display at Katherine Mulherin, Papier 14

Balint Zsako’s work on display at Katherine Mulherin, Papier 14

Don’t be Afraid to Ask

I joined Nicole Milkovich of the Love Art Fair, Alison Milne, and Anthea Baxter, director of Alison Milne Gallery at the Spoke Club this week for an informal presentation on starting an art collection. The overarching message of the talk was to get over any fears you might have of the “art world” and trust your own instincts about judging the merit of art. The trio related a series of common sense strategies on the topic of starting an art collection. As they stressed the fact that commercial galleries are retail spaces, their tips came down to sensible shopping advice. Here are a few:

  • Shop around- go to many galleries, art shows and fairs, openings, read magazines and blogs, get on gallery mailing lists- with the purpose of defining your personal taste in art.
  • Educate yourself- ask gallerists for price lists, read about different mediums so that you understand what your are buying.
  • Trust yourself- don’t be afraid to look stupid, acknowledge that different people have different tastes in art and that your preference is valid.
Aqueous-ii, Crystal Wagner, 2013, PM Gallery, $2100. This paper relief sculpture (framed in a shadow box) was featured during the talk as an example of work that may be found at the fair.

Aqueous-ii, Crystal Wagner, 2013, PM Gallery, $2100. This paper relief sculpture (framed in a shadow box) was featured during the talk as an example of work that may be found at the fair.

Milne relayed her own story of entering the art world.  Working as an interior designer, she decided she needed art on the walls of her showroom. She decided to ask an artist friend, Harvey Valentine, if she use his art. At the end of a relaxed evening and $24,000 later, Valentine had sold his entire show and Milne had decided on a new career venture.


During the closing question and answer period the topic of art as an investment was broached. After comparisons to the stock market and playing your numbers were mentioned, Milkovich related an anecdote about a person who began collecting by buying a piece of work from an artist friend who needed money. The anecdotal starving-artist was Mark Rothko, which led to Milkovich’s advice “buy for love and if it’s a good investment you can be smug about your purchase later.”

Tonya Corkey, drier lint pulled through canvas,  2013, Alison Milne Gallery. The work was featured as an example of what to expect at Love Art Fair.

Tonya Corkey, drier lint pulled through canvas, 2013, Alison Milne Gallery. The work was featured as an example of what to expect at Love Art Fair.

The Love Art Fair runs May 8-11, 2014. For more about the show read my earlier post.

Header image: Ric Santon, a history over large and small accidents, 2007
acrylic on wood, 60″ X 54″, Parts Gallery. Santon’s work was showcased during the talk as an example of art that may be found at Love Art Fair.

Contact is coming!

The website for the ScotiaBank Contact Photography Festival is up and running, so check it out if you haven’t already picked up one of the glossy manuals that are circulate the city at this time of year. The festival, which is the largest of it’s kind in the world, turns Toronto into a hub of the photographed image bringing the works of world-class photographers to the galleries and streets of our evermore cosmopolitan city.

I’m looking forward to hopefully chatting with Canada’s preeminent photographer Stan Douglas (fingers crossed) as well as emerging artist and new mother Elaine Chan-Dow.

Stan Douglas, MacLeod

Stan Douglas at Ryerson Image Centre

The festival kicks off on May 2, 2014 at MOCCA. Take a look at the website for full details of artist talks and exhibition details and peruse some of the photos below for some exhibitions that are not to be missed. Also keep your eyes peeled for billboards along Dundas Street West, Spadina and Front street NE corner, Queens Park Subway Station, Metro Hall, and Pearson Intl. Airport, among other public locations.

Michael Awad, The Royal Ontario Museum, Toronto, 2014

Michael Awad, The Entire City Project, ROM

Rob Hornstra, Mikhail Karabelnikov, Sochi, Russia, 2009

Rob Hornstra at Contact Gallery

Fausta Facciponte, The Opening, 2013

Fausta Facciponte at The Art Gallery of Mississauga


Varial Cédric Houin, Marbet, 2011

Varial Cedric Houin at Arsenal Toronto

Gordon Parks, Department Store, Mobile, Alabama, 1956

Gordon Parks at Nicholas Metivier Gallery

Header Image: Max Dean at Harbourfront Centre


On Saturday, I dropped off my husband and daughter at the AGO for some family fun time and stopped in on the Feminist Art Conference at OCADU. Only in its second year, the conference has enjoyed two fully sold-out events (with 350 attenders this year) and was endorsed by participants such as acclaimed photo artist Suzy Lake, and artist/activist d’bi young anitafrika.


Suzy Lake

Talking to conference founder Ilene Sova, the story of the development of FAC is one that makes it hard to disbelieve in synchronicity.  Due to the highly charged nature of her Missing Women Project, then set to be shown at the Creative Blueprint Gallery last year, She sent out a call for submissions to set up a kind of discussion forum around the work. After a somewhat surprising and sometimes international response to a call for submissions, She decided to plan an entire conference, which was held at the Foundry for its inaugural year. FAC moved spaces after an OCADU student suggested it might be a better venue. Upon speaking with the student union, it turned out that OCADU’s students had expressed strong interest in feminist courses becoming a part of the OCADU curriculum. By the youthful gloss on the faces of most attendees, it seems we are no longer in any sort of “feminist backlash.”


Performance artist Adriana Disman

The conference took place on the weekend of International Women’s day this year, March 7th and 8th and consisted of a show of visual art work at OCADU’s Beaver hall, artist and community panel discussions, and performances in dance, performance art and spoken word.


Joan Lilian Wilson

The show at Beaver hall underlined a core philosophy behind the conference with art by newly emerging artists was shown alongside works by more established artists.  The artists were then invited to speak about their work as it related to a series of topics such as: well-being and patriarchy; body politics and language; division of labour; and others. She is quite passionate that the show and panel discussions being an opportunity for some of the younger artists to have a chance to participate in the kind of event that would normally be reserved for much more established artists.


The vein of feminism supported by this conference seems to be a healthy one.  There are strong underlying values of mentorship, community, and health behind the larger idea of promoting and guiding various feminist art forms.  This overall theme was nicely summarized in the keynote address by d’bi. Unignorably passionate, it seemed at first to be an all-too-familiar rant designed to stir up a bit of frenzy, until she challenged the audience to commit their lives to their own self-care rather than “fighting a revolution” at the expense of themselves. It was a refreshingly realistic and achievable overall message that cuts into the core of challenges faced by many average women.

In my opinion it is this kind of wise simplicity, devoid of Mary Richardson style anger, that will make this conference productive and accessible to all.

Header image by Nikki White

C2-MTL: Toujours Plus Haut!

Have you ever been sitting at home watching TED talks on Netflix and started secretly fantasizing about how cool it would be to actually be there?  Or are you just thinking, “Wow Trish, it’s time for you to get out of the house!”  Conveniently, I have a response to both of these possible courses of thought. Last Wednesday I was privileged to attend a C2-MTL pop-up conference held at Toronto’s home to ambitious creative socialites- The Spoke Club. The pop-up is one in a series of events hosted by the club to celebrate their decade anniversary.

I commenced my evening off the couch by mingling with the Spoke’s creative types. It evolved into my more introverted fantasy of listening to a selection of innovative speakers. The talks happened live on the third floor of the club, and were projected onto screens on the fourth floor for those who decided to remain closer to the risotto samplings. C2-MTL is the brainchild of the internationally renowned creative team, Sid Lee.

If you’re not familiar with them, Sid Lee is a multi-disciplinary creative team which defines their strategy of developing products and brands as “Commercial Creativity,” hence the “ C2” in this Montreal based 3 day conference. Like TED talks, the conference brings influential and esteemed speakers to regale and inspire its attendees. It also hosts a series of workshops and networking sessions to promote the organization’s mantra of creative collaboration. The collective spirit is furthered by multiple social media driven opportunities for participation in the evolution of conference themes and installations.

The creative stimulation of the talks was easily the highlight of the evening. Mouna Andraos, one of the founders of Montreal’s Daily Tous Les Joursdiscussed some of her organization’s various projects geared at changing spaces and bringing people together. Daily Tous Les Jours’ website describes the company as leading “multi-disciplinary projects at the intersection of participation, design and technology.” One intriguing intervention was their 21 Balancoires (21 swings) project, in which a series of 21 musical swings were installed into existing unused structures to create community convergence in a relatively idle area within Montreal’s city centre. When used, each swing would create a series of sounds along an octave in response to how high and fast the participant swings.

Mouna Andraos speaking at the Spoke Club

Mouna Andraos speaking at the Spoke Club

In another project by DTLJ, Giant Sing Along, originally commissioned for the Minnesota State Fair, participants are invited into a field of microphones to sing along to a juke-box-like selection of pre-requested songs. By encouraging random public participation, the team’s projects turn potentially mundane settings into environments of creative engagement and community interaction.  Likely considered the realm of urban design, many of the projects could arguably be deemed conceptual art pieces.

Karen Ward spoke next, with her playful chat on curiosity- enticingly labeled “Curiosity is to Creativity as Sex is to Procreation.”  Though maybe not the speaker I would have initially envisioned to address this provocatively monikered topic, Ward’s vaguely flirtatious style of delivery combined with her research infused content left me truly wishing I was signed up to attend the conference scheduled for  the end of May.  Particularly compelling was Ward’s ability to simultaneously highlight the relevance of her talk to multiple audiences- and also to the multiple facets of each individual within an audience.

Karen Ward speaking at the Spoke Club

Karen Ward speaking at the Spoke Club

Were you aware that curiosity is an arousal response? In a lab, rats that fail to demonstrate novelty seeking behavior are considered mentally or physically ill. This provocative introduction to her discussion on our society’s disturbing devaluation of the trait led listeners past examples of our acceptable disregard of curiosity into solutions for fostering it in daily life and business. Some of her more instantly gratifiying tips on fostering this sexy skill included: allowing the mind to wander on Pinterest; using Evernote to record daily inspirations; stepping outside of your media consumption comfort zone; and making a “curiosity date”a part of shaking up your regular routine, such as traveling or even just going on a walk in an unfamiliar neighbourhood- an idea inspired by Julia Cameron’s classic text on creative inspiration. Try visiting her company’s website in a few weeks for more inquisitiveness encouragement.

As engaging as much of the content and delivery of this event is, the somewhat dizzying $3,600 price tag is sure to scare off most orthodox members of the creative class. If you’re desperate to attend but don’t think you can pony up the cash, consider applying to volunteer for the event- applications for various opportunities are due March 21 of this year.

Header image: Daily Tous Les Jours’ Giant Sing Along