Mirana Zuger’s work recently featured at the Brooklyn Museum

Posted on: October 13th, 2016 by Manny

We are thrilled to be partnering with students from Brooklyn College’s Performance and Interactive Media Arts (PIMA) graduate program this weekend for Assembly Required. Each performance will combine live performance, technology, and interactivity in...

We are thrilled to be partnering with students from Brooklyn College’s Performance and Interactive Media Arts (PIMA) graduate program this weekend for Assembly Required. Each performance will combine live performance, technology, and interactivity in response to environment at the Brooklyn Museum. We had a chance to catch up with the three student groups before they start loading-in on Friday so that they can tell you about all of the different community partners they have formed to present a lively weekend of programs for our Brooklyn Museum community. Here’s more on The Dream Room:

“What’s your dream?” The challenge of collaboration is that we can’t see inside each other’s’ heads. The beauty of collaboration is that, despite this mystery, we can still make each other’s dreams come true.

Since March, we’ve been collaborating with artists from YAI ARTS, a program for artists with developmental and intellectual disabilities, to create an art project for the Brooklyn Museum using projection, drawing, animation, and live performance. For all of us, making work at the Brooklyn Museum and sharing it with you, the museum goers, is a big dream.

On Saturday, May 16 and Sunday, May 17, we invite you to join us in D R E A M R O O M, a collaborative performance environment created to engage a neurodiverse public in collective dreaming. Alternating between open work sessions and presentations of ongoing multimedia projects inspired by our dreams, D R E A M R O O M is an active studio where you can talk, work, and dream with us. – Mohammad Aghebati, Eric Magnus, Lisa Szolovits, & Mirana Zuger.

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Byron Hodgins Featured in 1968 Magazine!

Posted on: December 11th, 2015 by Manny

Byron Hodgins – 1968 Magazine Artist Profile

NSC Featured in Toronto Star

Posted on: July 29th, 2015 by Manny

Art on the move, this time to Dupont St.

Five galleries are fleeing high rents of Dundas and Queen, setting up shop near the unlikely intersection of Dupont and Dufferin.

“Road to Ruin” is the name of the inaugural exhibition at Cooper Cole gallery’s brand-new space on Dupont and Dufferin Sts., though its proprietor, Simon Cole, intends the opposite effect.

After years on Dundas West, the gallerist pulled up stakes and relocated to an unlikely spot, chased by escalating rents and a growing priority on late-night food and drink ? especially drink ? in his former neighbourhood.

He’s not alone: In the past couple of months, four other galleries ? Erin Stump Projects, PM Gallery, Angell Gallery and Neubacher Shor ? have begun their resettlement to this improbable nexus, anchored by the world-weary Galleria shopping centre on the southwest corner, a McDonald’s and a string of car audio and appliance warehouses.

There is already an artists’ presence here, though, with clusters of studios strung from Dovercourt Rd. west to Dundas. This recent influx only makes it official, and visible.

It comes as no surprise. Art has always nudged at the city’s frontiers in a predictable pattern of forced migration: Art moves in, imbuing a worn-at-the-corners neighbourhood with an instant cache; new businesses follow, looking to capitalize on the sudden sheen, attracting new, more moneyed residents; rents go up; and art moves out.

This time could be different, with at least some of the new arrivals not renting their spaces but buying, and in one of the last affordable pockets of the semi-central city. What’s certain, though, is change. With its stretch of underused storefronts, looming gigantic condominium developments and a modest but growing presence of new businesses starting to occupy them ? across from Stump, an organic market is under renovation; espresso bars, most of them less than a couple of years old, are separated by less than a block ? Dupont’s time is coming. Some would say it’s already here.

Simon Cole, Cooper Cole gallery

Moved: From 1161 Dundas St. W. to 1134 Dupont St., coopercolegallery.com

Cole, a staple of Dundas West since 2008, was the first of the crop of new pioneers to head north and his old neighbourhood’s changing character was ample motivation.

“It became so nightlife-centric,” he says. “I just didn’t feel like the crossover was there anymore.” He moved to his new space, a multi-level former credit union (complete with safe), not for cost reasons, though he allows it was a pre-emptive strike.

“I wanted to be the one making the decision to leave, before my landlord jacked the rent.” He liked the space, with its architectural idiosyncrasies, and the practical benefits, too.

“I don’t have drunk guys peeing on my doorstep anymore, which I like,” he laughs. “Maybe we can’t go for dinner on Dundas after an opening anymore, but I can live with that.”

Simon Cole moved his Cooper Cole Gallery from Dundas St. W. to Dupont St. because the old neighbourhood became too "nightlife-centric."


Simon Cole moved his Cooper Cole Gallery from Dundas St. W. to Dupont St. because the old neighbourhood became too “nightlife-centric.”

The gallery’s first show in the new space closes Saturday.

Jamie Angell, Angell Gallery

Moving: From 12 Ossington Ave. to 1444 Dupont St., angellgallery.com

Angell, who spent more than 10 years first on Queen St. W. and then around the corner on Ossington, could see the writing on the wall. His lease was coming due at the end of the year and he decided not to wait for the inevitable bad news. He bought a unit earlier this spring on Dupont, next to Boulderz, a rock-climbing club, in a light industrial development.

“The stress of renting got to be too much,” he says. “It’s a huge weight off my shoulders.” How huge? Angell’s Ossington rent was $14,000 a month before any increase for next year. His monthly mortgage payment on the new space is less than half that.

“There’s a lot I can do with that,” he says. “I can treat my clients that much better.” Angell plans to open in the fall.

Jamie Angell decided not to wait for the inevitable rent increase before moving from Ossington to Dupont St., where he'll open Angell Gallery in the fall.


Jamie Angell decided not to wait for the inevitable rent increase before moving from Ossington to Dupont St., where he’ll open Angell Gallery in the fall.

Erin Stump, Erin Stump Projects (ESP)

Moving: From 1450 Dundas St. W. to 1558 Dupont St., erinstumpprojects.com

Stump, who opened on Dundas West just a few years ago, had little intention of leaving. But her building sold earlier this year and the new owner had plans to occupy the space, leaving her no choice. She found a two-storey building with a storefront for sale on Dupont and was surprised to find she could afford to buy it. With a massive space in the rear ? it was, long ago, an old tailor’s shop; local legend has it they made suits for Frank Sinatra ? it’s almost triple her old gallery’s size, but that’s not her only rationale.

“You need to be where your peers are,” she says. “It’s not as simple as cheap show space; you want to have a sense of community. Dundas feels like it’s basically become Queen West. I want to be where the artists are.” Stump hopes to open as early as late this month.

Powell MacDougall, PM Gallery

Erin Stump moved her ESP gallery from  Dundas West after just a few years when the building was sold and bought her own buildling on Dupont.


Erin Stump moved her ESP gallery from Dundas West after just a few years when the building was sold and bought her own buildling on Dupont.

Moving: From 1518 Dundas St. W. to 1485 Dupont St., pmgallery.ca

After more than five years on Dundas West ? and countless hours spent working on improvements to her landlord’s building ? MacDougall found herself in the same old trap: with the building in great shape and the neighbourhood improving, her rent spiked and that was that.

“I’m kind of tired of moving every time a neighbourhood gentrifies,” she says. She’s relocated the gallery to a third-floor loft space as a collaborative effort with one of her artists. It’s a kind of wait-and-see — she’ll only stay a year — but given the sudden influx of peers all around, she’s looking to find long-term space nearby.

Manny Neubacher and Anya Shor, Neubacher Shor Contemporary

Moving: From 5 Brock Ave. to 230 Emerson Ave., neubachershor.com

Gentification and a rent increase drove Powell MacDougall and PM Gallery from Dundas West to a temporary space on Dupont St., but  she’s looking to find long-term space nearby.

Brian B. Bettencourt/ Toronto Star

Gentification and a rent increase drove Powell MacDougall and PM Gallery from Dundas West to a temporary space on Dupont St., but she’s looking to find long-term space nearby.

After almost five years near the increasingly hectic Parkdale hub of Queen St. and Brock Ave., Neubacher and Shor looked north.

“It was the same old story: rent’s going to more than double,” Neubacher says. Their landlord didn’t say as much, but with the burgeoning hipification of Queen a few doors away, “it was an educated guess,” he says.

Shor agrees. “We didn’t even ask, because there wasn’t a point.” On Emerson, a short dead end north off Dupont, they found a low-slung one-storey brick building that most recently served as a motorcycle repair shop. Cutting their rent almost in half ? $3,500 versus $6,500 per month ? means the couple can abandon the necessary evil of their old business model: renting their space out on weekends for special events to make ends meet. “It’s a relief,” Shor says. “Now we can just concentrate on the art.”

Manny Neubacher and Anya Shor  anticipated the inevitable rent increase when they moved their Neubacher Shor gallery from the "hipification" of Queen W. to a space for a little more than half the rent on Emerson, a short dead end north off Dupont.

Brian B. Bettencourt/ Toronto Star

Manny Neubacher and Anya Shor anticipated the inevitable rent increase when they moved their Neubacher Shor gallery from the “hipification” of Queen W. to a space for a little more than half the rent on Emerson, a short dead end north off Dupont.


ARTORONTO.CA Features David Spriggs!

Posted on: February 28th, 2015 by Manny

David Spriggs: The Nature of Power at Neubacher Shor

Over the past fifteen years, David Spriggs has developed a signature style of layering images on transparencies, creating hybrid spaces that bend the traditional constructs of painting and sculpture. This method involves airbrushing two-dimensional images onto multiple sheets of transparent film, which are then hung together in horizontal cuts to form a three dimensional object.  Four of these distinct works are currently on display at Neubacher Shor as part of The Nature of Power, a solo show of Spriggs work that spans nearly a decade of the artist’s production.

Installation view. Photo: Mitch Billinkoff

“Retinal II” is the most recent work on display in the exhibition. Aspects of vision and their relation to power are highly important in Spriggs transparency works. Despite the fragmentary nature of the medium, the work manages to convey a sense of depth and the impression of physical presence despite lacking a real physicality.

David Spriggs, “Retinal II”, 2013. Acrylic on layered transparent plastic film, 31.5 x 20.5 x 15.25 inches. Photo: Courtesy Neubacher Shor Contemporary

“Ideologies” reveals a similar, if not cosmic, sense of volume. The spectral forms appear as a frozen moment in time and space. Elements of the Italian Futurists and Cubism are undoubtedly present here and elsewhere in the exhibit. Concepts of speed and movement (Futurism) and the hybridity of a space that breaks the laws of what restricts a two and three-dimensional form (Cubism) are particularly present.

David Spriggs, “Ideologies”, 2008. White acrylic paint on transparent film, display case, metal stand springs, lighting, 75 x 48.5 x 22.5 inches. Photo: Courtesy Neubacher Shor Contemporary

The crown jewel of the show, however, and the work that provides a perfect summation of Spriggs explored themes and influences is “The Paradox of Power“. This monumental work, measuring eight feet high and ten feet wide has the presence of a standalone exhibition, as it did when it was originally exhibited as part of Spriggs graduate thesis at Art Mur in 2007. Here, the cloud-like bull shares a connection with the Futurist ideal of simultaneous multiple representation from a variety of angles. Traditionally a symbol of power and virility, here the bull has not only been fragmented but flipped upside down and rendered immobile. Additionally, it has been separated in half by opposing binary colours of red and blue – furthering the paradox of power.

David Spriggs, “ The Paradox of Power”, installation, 2007, Red and blue acrylic on layered transparent film sheets, display case, springs, lighting, 04 x 124 x 36 inches. Photo: Mitch Billinkoff

David Spriggs, “ The Paradox of Power”, installation, 2007, Red and blue acrylic on layered transparent film sheets, display case, springs, lighting, 04 x 124 x 36 inches. From left to right: side view, front view, side view. Photo: Mitch Billinkoff

The Nature of Power offers an insightful view into the past decade of David Spriggs artistic production during which he has explored themes of power, energy and optics. “The Paradox of Power, the centerpiece of the show, is worth making the trip on its own. The work is both ambitious in its technique and scale and can only be truly appreciated in person. Though the exhibition doesn’t contain any new works from the artist, if you haven’t seen these works up close before I highly recommend paying a visit to Neubacher Shor Contemporary.

Mitch Billinkoff

*Exhibition Information: February 6 – March 7, 2015, Neubacher Shor Contemporary, 5 Brock Avenue, Toronto. Gallery hours: Wed – Sat 12 – 5 p.m.

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Vogue lists NSC as an ‘arbiter of cool’ in Toronto

Posted on: October 31st, 2014 by Manny

Vogue’s Guide to Canada’s Cultural Capital: Toronto

by Randi Bergman

After years of being described as “just like New York but smaller,” Toronto has some legitimate reasons for newfound bravado. One of the most diverse cities in the world, Canada’s cultural capital is home to an incredibly rich variety of neighborhoods and atmospheres (see Chinatown, Little India, Little Italy, Little Portugal); its annual Pride Week is one of the world’s largest, boasting upwards of a million visitors each year; and the art, fashion, and restaurant scenes—not to mention its coffee culture—is booming. Here, we take a look at the best that the city has to offer.

1 / 11
Art Gallery of Ontario
Since its Frank Gehry renovation in 2008, the AGO has become bold in its scope, hosting an exhibit on Michelangelo’s drawings (currently on view) to one about Patti Smith’s photographs and personal objects. The Royal Ontario Museum also features standout architecture, quite literally, jutting from its storied walls, with the Daniel Libeskind–designed deconstructivist crystal.
Photo: Courtesy of Stephanie Yeow / @sheephanie
2 / 11
Bar Isabel
Wunderkind chef Grant van Gameren has dominated Toronto’s food trends lately, first with Black Hoof and now with Bar Isabel, the Spanish-spun tapas restaurant loved for its oaky, hole-in-the-wall ambiance and its spicy boquerones. Another of the city’s recent titans, Anthony Rose, holds court on Dupont Street with three hotspots, Rose and Sons, Big Crow, and Fat Pasha, which all ride the Eastern European Jewish–inspired schmaltz trend.
Photo: Courtesy of Jennifer W. / @beansnpork
3 / 11
Park Life
Come summertime, Trinity Bellwoods Park is a hipster haven of picnic blankets and contraband microbrews. Meanwhile, the city’s largest green, High Park, is a cherry blossom paradise each April. For something a bit further out of the city center, Scarborough Bluffs is thrilling with its spectacular cliffs.
Photo: Courtesy of Pauline / @xxpaulineeexx
4 / 11
Casa Loma
Casa Loma, a Gothic Revival castle built in the early twentieth century, is a curious, fantastical must for any first-timer. For the sadcores, nearby Mount Pleasant Cemetery is an equally, if a bit eerie, step back in time, with graceful tombs dating as far back as 1876.
Photo: Courtesy of Hailey Hye-young Park / @park.h.hailey
5 / 11
A Goldilocks gem of the vintage world, Toronto rivals the best for pieces that are neither pricey nor overly mass. The west end’s many outposts, 69 Vintage, Chosen, Silver Falls, I Miss You, and Penny Arcade are superb for of-the-moment essentials, while more upscale spots like Gadabout, Magwood, and Cabaret draw the line at anything post-seventies. Kensington Market, a hippie paradise of vegan cuisine, tacos, and peasant blouses is also a must.
Photo: Courtesy of Bianca Venerayan / @biancavenerayan
6 / 11
Sam James Coffee Bar
At this chain of coffee bars, you’ll forgive baristas for answering, “Yes, we have 2 percent,” to your request for skim milk because they are just so good-looking. The city is snobbish about its caffeine, which fortunately means exceptional roasts from Sense Appeal, Fahrenheit, and the beautiful Dineen Coffee Co.
Photo: Courtesy of Isabelle / @chew.this
7 / 11
TIFF Bell Lightbox
The growing Toronto International Film Festival found a permanent home few years back, which will play host to “Stanley Kubrick: The Exhibit” through 2015.
Photo: Courtesy of Shivani Kohli / @hopefulvagabond
8 / 11
Daniel Faria Gallery
Daniel Faria, a latter-day Troy Donahue with a roster of notable Canadian artists (most notably, Douglas Coupland), exhibits in a former garage on the city’s west side. Other arbiters of cool, such as Clint Roenisch, Neubacher Shor Contemporary, and Hermann & Audrey keep things similarly interesting.
Photo: Courtesy of Shari Orenstein / @shariorenstein
9 / 11
The Drake Hotel
With its many outposts (a chain of boutiques, a Financial District eatery, and a cottage country inn), The Drake Hotel is at the heart of Toronto’s transformation. A worthwhile stop nearby is Gladstone Hotel, where each room is designed by local artists.
Photo: Courtesy of Kristina / @kristina_ezhova
10 / 11
Cocktails and craft beer are more common than dance parties, and the best selections are at the Carbon Bar, Black Hoof’s Cocktail Bar, and the above-mentioned Bar Isabel. The snack-drink mix is done well at 416 Snack Bar, with its rotating menu of miniatures.
Photo: Courtesy of Michelle Pinchev / @citybyheart
11 / 11
Toronto’s impending luxury deluge is not without a precedent, with Holt Renfrew holding court for years and The Room at Hudson’s Bay upping the ante with a focus on Brit-lead avant-garde (an Isabella Blow retrospective is on view through the month). Meanwhile, smaller boutiques like 119 Corbo offer an Antwerp Six–bent selection of Dries Van Noten, Ann Demeulemeester, and Maison Martin Margiela.
Photo: Courtesy of Daniella Fers / @daniellafers
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BlogTO is spot on…Jen Mann’s ‘Q&A’ show wont be one to be missed!

Posted on: October 10th, 2014 by Manny

Click here to read more about the Top 10 Toronto Art Shows this Fall.


Checkout Valentine’s latest video on VIMEO

Posted on: August 28th, 2014 by Manny

Click here to view Harley Valentine’s latest video on VIMEO.

The Creators Project on the future of Formalist Sculpture

Posted on: August 28th, 2014 by Manny

The Future Of Formalist Sculpture May Be 3D Printed

By Beckett Mufson — Aug 21 2014

Images courtesy of the artist; via

Photographer-turned-sculptor-turned-3D printing aficionado Harley Valentine‘s abstract artworks are difficult to fit into a single category; by combining photography and abstract, 3D-printed sculpture, his multi-layered pieces can be interpreted through multiple lenses.

The first layer comes from Valentine’s 3D sculptures, in which, massive forms that build on the work of great mid-century American sculptors (like Alexander Calder or John McCracken) and dominate their surrounding spaces. Often experimenting with shutter speeds and apertures to create interesting effects, Valentine then captures photographs of his structures within their environments:

“I am driven to create a new formalism with steel, born through the processes of 3D printing,” Valentine told The Creators Project. “Utilizing the limitless 3D modeling tools my forms are created to challenge engineering and capture movement and motion through static forms in new dynamic ways.” In the short documentary, Model to Monument, Valentine expands on this, explaining that capturing three-dimensional forms in two dimensions via photography is integral to his bipartite practice.

Valentine has installed his work in galleries throughout Canada, and is currently working on a major public art installation called The Dream Ballet for the Daniel Libeskind Residence Tower in Toronto.

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Juxtapoz Magazine featuring Jen Mann’s newest work

Posted on: April 19th, 2014 by Manny

By Juxtapoz

Jen Mann

Jen Mann is a Canadian artist from Toronto, Ontario. Mann’s dreamy, acrylic paintings are inspired by illusions and memories of her childhood, she experiments with a variety of different effects with color combinations and saturation to capture innocence and beauty. “I am fascinated by the subconscious, the soul, identity, and the way they interact to form meaning and beauty, or nonsense everything and nothing. I am inspired by existentialism, history, language, and nature. In my newest series of works I challenge limitations to acceptable beauty. Limitations are death to creativity”.

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Canadian Art’s Must-Sees This Week: March 20 to 26, 2014

Posted on: April 19th, 2014 by Manny


4 Colour Separation (2012) by David Spriggs is part of a new colour-focused group show opening at Neubacher Shor Contemporary.



Spring always promises an injection of colour into the landscape, and Neubacher Shor Contemporary provides some early inspiration with “Colour Interaction,” a show of works by Barry Allikas, Melanie Authier, Daniel Hutchinson, David Spriggs, and Robert Youds that opens March 20 from 6 to 9 p.m. Also promising are new works by Sky Glabush that open at MKG127 on March 22 from 2 to 5 p.m. and projects by Emmy Skensved and Grégoire Blunt that debut at Erin Stump on March 22 from 5 to 8 p.m. The Art and Feminism Wikipedia Edit-a-Thon brings more female artists to the world’s most popular website on March 22 from 1 to 5 p.m. at the OCADU Library. Last but not least, Houston curator Mari Carmen Ramírez lectures as part of the Latin American Speakers Series on March 20 at 7 p.m. at Hart House.

World-renowned Vancouver artist Stan Douglas makes his first foray into abstract imagery with “Synthetic Pictures,” an exhibition which opens on March 20 at 7 p.m. at Presentation House Gallery. In it, some of Douglas’s film works are reduced to patterns of data, while other prints play on the history of local landmarks. Rebecca Brewer’s take on painting is always worth a close look, and opportunities will abound in “The Written Face,” an exhibition that opens at Catriona Jeffries on March 28 from 7 to 9 p.m. Nicholas Galanin’s trenchant approach to First Nations and colonization is in the spotlight at Trench Contemporary’s “Home, Memory of Land & Space,” opening March 27 from 6 to 9 p.m. And dance combines with more bookish pursuits during Lauren Marsden’s In Pursuit of Perpetual Motion, a performance outside the Vancouver Public Library Central Branch on March 22 at 1 p.m. The action, inspired by books deaccessioned by the library, will involve 10 performers.

Rising talents Jaime Angelopoulos and Karen Kraven show new work at Parisian Laundry starting on March 26 at 6 p.m. François Lacasse, known for unusual abstract paintings created through a pouring (rather than brushed-on) technique, is sure to intrigue with his latest works, which go on view at Galerie René Blouin on March 22. And the flipside of social media and Photoshop culture is investigated by Sophie Lambert in “I & Us” at Arsenal, which opens March 20 at 6 p.m. For it, Lambert has assembled unconventional nudes, portraits and texts acquired on and beyond digital means. Portraits by Jean-Francois Bouchard are also on view.

The lives of missing and murdered Indigenous women and girls—a tragedy which has prompted a call of late for a federal inquiry—are honoured in Christi Belcourt’s commemorative installation Walking With Our Sisters, currently on a national tour. Following recent showings in Edmonton, Regina and Parry Sound, the installation opens at Winnipeg’s Urban Shaman on March 21 from 5 to 7 p.m. In it, thousands of collaboratively beaded moccasin vamps call to mind the 800-plus “sisters, mothers, aunties, daughters, cousins, grandmothers, wives and partners” who have been lost.

The aspirations of teenaged girls in four communities— Inuit in Nunavut; transgender in Nova Scotia; Jewish in Ontario; and Congolese, Rwandan, Ethiopian and Sudanese immigrants in Manitoba—form the focus of the first collaboration between Winnipeg filmmaker Noam Gonick and his sibling Marnina Gonick, a research chair in gender at Mount Saint Vincent University in Halifax. The project, a four-screen projection called Voices in Longitude and Latitude, goes on view at the MSVU Art Gallery on March 22 from 2 to 4 p.m. Elsewhere, NSCAD grad Andrew Hunter opens a show of paintings at Hermes on March 20 from 5 to 8 p.m. The exhibition’s landscapes are based on hikes in rural Nova Scotia.

Tristram Lansdowne‘s enchanting watercolours take center stage at the Kitchener-Waterloo Art Gallery this week. Provisional Futures features urban environments in various states of surreal decay, contrasting ideas of permanence with the fragility of human-constructed environments. The opening reception is scheduled for March 21 at 7 p.m., with artist remarks at 8 p.m.

These picks, published each Thursday, are selected from press material sent to preview@canadianart.ca at least two days prior to publication. For listings of art exhibitions, openings and events, visit canadianart.ca/calendar.

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