German-born photographer and filmmaker Lutz Dille (1922 – 2008) immigrated to Canada in 1951. The selection of black-and-white pictures in this exhibition capture poignant moments—including fashion accessories, unconscious gestures and everyday objects—in the streets of Toronto, where Dille lived and worked for thirty years.
The University of Toronto Permanent Collections represents a significant cultural and financial asset held in public trust for the benefit of current and future generations. The Art on Campus Program, administered by the University of Toronto Art Centre, is one of several ways that works of art from the Permanent Collections are made available to the community, and it reflects the importance of art in our lives and surroundings.
Co-curated by former UTAC Director, Niamh O’Laoghaire and students in the Spring 2013 UTAC Exhibition Course this curatorial project began with a core set of works drawn from the Malcove, University College and University of Toronto Art Collections, three permanent holdings in the care of UTAC. The works, by major artists within the Western canon range in date from the 1500s to the 1940s.
A Primary Exhibition of the Scotiabank CONTACT Photography Festival
Organized by UTAC and CONTACT
Curated by Bonnie Rubenstein
Andrew Wright Penumbra is one of CONTACT 2013’s ten primary exhibitions. Organized with the Scotiabank CONTACT Photography Festival and curated by its artistic director Bonnie Rubenstein, the exhibition highlights this year’s Festival theme, Field of Vision.
A Featured Exhibition of the Scotiabank CONTACT Photography Festival
Curated by Master of Museum Studies Students: Orysia Goddard, Kristin Martin, Elizabeth Morningstar, Rachel Wong
This exhibition presents a survey of the work of local Toronto photographer and artist Janieta Eyre. Throughout her career, Eyre has created images that contrast and challenge traditional notions of femininity in society. This exhibition examines Eyre’s work in its capacity to challenge and re-articulate constructions of femininity.
This solo exhibition presents a new method of archival access and display that acts as a means of reflecting on those items and memorabilia that deeply influences ones education, gender and general characteristics. The exhibition will turn UTAC into an archive and uses the act of archiving as a tool to legitimize often discarded and ignored items.
An exhibition curated by the UBC Museum of Anthropology
Luminescence: the Silver of Peru traces the long history of silverwork and the fascination with the metal’s divine and luminescent qualities. It will display pre-Columbian works to those made by contemporary artists, including national treasures seldom seen outside of Peru. The exhibition is curated by MOA Director Dr. Anthony Shelton.
Student Work from the Graduate Program in Biomedical Communications, UTM 23 October to 1 December 2012
Curated by Dave Mazierski and Shelley Wall
in the UTAC art lounge
The art on display in this exhibition represents recent coursework done by students in the graduate program in Biomedical Communications (BMC) at the University of Toronto. This two-year professional Master's degree (the only one of its kind in Canada) equips students with advanced knowledge of and proﬁciency in the creation and evaluation of visual media in medical and scientiﬁc contexts.
23 October to 1 December 2012
Co-Presented by Blackwood Gallery and the University of Toronto Art Centre
Curated by Nina Czegledy
SPLICE: At the Intersection of Art and Medicine presents a scientific gaze at the human body by showcasing traditional anatomical art, complemented and challenged by contemporary artworks. A large-scale public showing of anatomical images by Maria Wishart, Eila Hopper-Ross, Nancy Joy, Dorothy Foster Chubb, Elizabeth Blackstock and Marguerite Drummond, selected from the extensive collection of Biomedical Communications, University of Toronto Mississauga and the Division of Anatomy, Faculty of Medicine, is included in the show. These artists utilized their traditional knowledge of art and science to achieve a balance between realistic rendering and an artistic vision of the human body. Lately, contemporary artists have been initiating a fresh discourse by experimenting with a wide range of representations. In contrast to the historical renderings, today the body is frequently politicized and digitized in order to manipulate, dissect and provoke.
Through the work of these artists SPLICE: At the Intersection of Art and Medicine addresses how understanding the complexity of the human anatomy requires both a scientific approach and aesthetic interpretation.
An exhibition by David Lieberman 23 October to 1 December 2012
The Alchemist’s Garden created by architect and artist David Lieberman comprises a series of large scale digitally created landscapes and a video composed of the same scenes. For Lieberman, landscape is never static. Our understanding of its composition and intent continually changes and evolves depending on how a site is occupied and used. Lieberman uses digitally painted gardens and landscapes to explore this idea as they can be manipulated in order to present opportunities for access and intervention. Ultimately for Lieberman, landscape, like architecture, should be understood as a performing rather than a fine art.
Drawing from the University College and University of Toronto Art Collections, UTAC Director Niamh O’Laoghaire has selected over 50 landscapes by a range of practitioners. There are works by Tom Thomson and members of the Group of Seven, Franklin Carmichael, Lawren Harris, A.Y. Jackson, Arthur Lismer, J.E.H. MacDonald and Fred Varley along with their contemporaries Emily Carr, David Milne and Barker Fairley. The show extends back to paintings by Homer Watson, and forward to Richard Gorman and Lorne Wagman, among others. The installation is structured to create an immersive narrative of seasonal evolution.
UTAC’s collections are built on the generosity of artists and collectors. In turn UTAC is delighted to share these works with the public. Heather Pigat, curator of this exhibition, has included works by John Hartman, William Kurelek, Kenneth Lochhead, Rob MacInnis, Gord Peteran, Vincenzo Pietropaolo, Phil Richards, Max Streicher and Rembrandt van Rijn.
Image: Vince Pietropaolo, “These Streets Were Not Paved With Gold” Project, 2006, Bakery Worker, Crupi Brothers Bakery, Dundas Street, 1973, black and white silver gelatin print. Donated by Janusz Dukszta 2011.
Constellations UTAC's Scotiabank Nuit Blanche 2012 installation delighted the 4,000 visitors who came to explore the immersive and interactive site curated by Carmen Victor and created through the works of four artists and two artist collectives: Claro Cosco, Grey Muldoon, Piffin Duvekot, XXXX Collective, Matthew Jarvis Wall, Spark Design Collective
Constellations represents an immersive and interactive installation which engages the senses and encourages investigation, exploration, and discovery through the works of four artists and two artist collectives.
Spalting is an exhibition of fungal pigments that have been allowed to form uncontrolled on wooden boards. The resulting patterns are abstracted and resembling complicated drawings in ink. A black pigment called melanin was used, melanin is extremely resistant to any kind of degradation. At the end of inoculation period while producing these works, the wooden boards were sterilized in order to interrupt fungal activity. The work in Spalting is produced in the Applied Mycology Lab within the Faculty of Forestry at the University of Toronto and is based on Daniela Tudor’s Ph.D. dissertation.
A series of Video Portraits in celebration of Glenn Gould 11 September to 6 October 2012
Produced by Dissident Industries Inc.
This exhibition is the world premiere of Robert Wilson’s South American Horned Frog Video Portrait series, specially designed for the University of Toronto Art Centre’s galleries. The South American Horned Frog Video Portraits ensemble fuses as one site specific work via a sound score combining river field recordings and frog vocalizations sound-mixed with Canadian pianist Glenn Gould performing his own arrangement of Bach’s Goldberg Variations. Wilson's eleven large scale, high definition videos will create an unforgettable, intense and immersive experience, while celebrating the 80th anniversary of Glenn Gould's birth.
April 28 - June 30, 2012
Curated by Matthew Brower, David Liss and Bonnie Rubenstein.
Organized by the University of Toronto Art Centre, the Museum of Contemporary Canadian Art and the Scotiabank CONTACT Photography Festival.
Framing issues and events central to current social and political discourse, the University of Toronto Art Centre (UTAC) and the Museum of Contemporary Canadian Art (MOCCA) present one exhibition in two locations as the focal point of CONTACT 2012: Public.
Curated by Diana Gore, Renée van der Avoird, and Julia Cyr
A Featured Exhibition of the Scotiabank CONTACT Photography Festival, in conjunction with the Mark S. Bonham Centre for Sexual Diversity Studies, and supported by Manulife Financial, the Jackman Humanities Institute, the University of Toronto Faculty of Information, the Valerie Jean Griffiths Student Exhibitions Fund in Memory of William, Elva and Elizabeth and the University of Toronto Art Centre.
XXXX Collective presents Threshold, an investigation of the physical and perceptual bounds informing bodily experience. The threshold is a point of demarcation, indicating the start of a new state or experience, and marking the point of the smallest detectable sensation. Threshold traverses the border between the permanent and malleable, the internal and external, the perceptible and imperceptible, and the spaces where things are not yet classified as one or the other.
XXXX Collective consists of Shannon Garden-Smith, Corrie Jackson, Emily Smit-Dicks and Polina Teif.
Curated by Elizabeth Parke, a doctoral candidate in the University of Toronto Department of Art, this exhibition, installed in the UTAC art lounge, comprises 16 posters from the Mark Gayn Collection housed at the Thomas Fisher Rare Book Library. The installation examines representations of the worker produced 1963 - 1967 during the upheavals of the Chinese Cultural Revolution.
Organized by UTAC and curated by Heather Diack, this exhibition reflects on the compelling power of photography to create relationships. The title plays off the collectors’ own confession that “we did not collect photography, photography collected us.” This exhibition explores the enigmatic humanity that is contained in each photographic moment collected by the Malcolmsons and how the very notion of a collection is held in tension by the disjuncture between being alone and being together simultaneously.
6 September – 26 November 2011 Organized by the Canadian Museum of Contemporary Photography, an affiliate of the National Gallery of Canada
Curated by Martha Hanna this exhibition highlights Angela Grauerholz’s photographic career over the past twenty-five years. Hanna particularly focuses on the way in which Grauerholz broadens our consideration of the medium of photography and explores photography in relation to time and memory, its relationship to archives and collections, to representation and to the collective imagination.
Angela Grauerholz, Privation Logo Book No. 146 (front), 2011, Angela Grauerholz / Courtesy Art 45, Montreal
30 April – 25 June 2011
Curated by Matthew Brower and Carla Garnet Organized by the University of Toronto Art Centre and the Scotiabank CONTACT Photography Festival
In May 2011 UTAC and Scotiabank CONTACT Photography Festival will mount Suzy Lake: Political Poetics a major themed exhibition of the work of a seminal figure in the history of Canadian art and feminist practice on the international stage.
30 April – 31 May 2011 Curated by Vanessa Fleet and Kristin Stoesz
A Master of Museum Studies Thesis Project A Featured Exhibition of the Scotiabank CONTACT Photography Festival
Provocative and seductive, Chris Curreri’s images construct new and unexpected relationships between the human form and found objects. He treats his model's bodies as porous and pliable figures that are bent and contorted to destabilize the boundary between subject and object.
Sanaugaq: Things Made by Hand The 1950s mark the birth of the Inuit fine art industry, which quickly grew to national and international acclaim. Its origins, however, are complex and inextricably entwined with commercialism. Sanuagaq is a critical examination of these roots, seeking to explore the tensions between artistic expression and commercial expectations which arise from creating Northern art for a Southern audience. Join us also for a complementary symposium featuring some of the most progressive Inuit art experts discussing issues surrounding the curation and representation of contemporary Inuit art.
This Master of Museum Studies thesis exhibition is curated by Rheanne Chartrand, Lianne Maitland, Rebecca Noone and Lisa Truong.
Opening Reception: Thursday 31 March 2011 6 -- 8 pm
In January 2011 the University of Toronto Art Centre (UTAC) will mount the first major exhibition to highlight the riches and diversity of the University College Art Collection as a whole. Created largely through the generosity of donors over many generations, the University College Collection comprises some 500 works of art which range in date from the earliest years of the College to the present day.
Collection of Nicholas Bonner, courtesy of The Korea Society Gallery
North Korean Images at Utopia’s Edge spans three decades and features 24 wood block prints from the Nicholas Bonner Collection. These prints offer a fascinating picture of North Korean conceptions of daily life and work, family and "Fatherland." Four subject areas delineate the contours of North Korea’s vision of an earthly paradise: harmonious families, plenteous landscapes, male laborers and women at work.
Organized by The Korea Society andpresented by the Centre for the Study of Korea, Asian Institute, Munk School of Global Affairs and the University of Toronto Art Centre
Traffic: Conceptual Art in Canada c. 1965-1980 is the first major account of the development of Conceptual Art in Canada from the mid 1960s to the early 1980s. By far one of the most important and long-lasting art movements of the 20th Century, Conceptual Art originated within the social and political turmoil of the 1960s – from feminism and gay liberation to anti-racism and anti-war movements – and presented a profound challenge to the institution of art.
ONE AT A TIME presented by Hart House and the University of Toronto Art Centre
A glistening mound of 1 million pennies devised by Canadian artist Gerald Ferguson is one of the exciting art projects that visitors will encounter at Hart House and the University of Toronto’s Art Centre. Other highlights include Marina Abramovic/Ulay's sensational performance Imponderabilia, involving two naked performers facing each other across an entrance way; and Orgasm Energy Chart, a widely disseminated questionnaire by General Idea first issued during the late 1960s sexual revolutions.
All projects involve artists’ interest in devising new frameworks through which we might see and experience the world, including ourselves and others.
19 June to 24 July 2010 Organized by the Doris McCarthy Gallery and Co-Presented with UTAC
On the occasion of Doris McCarthy’s one-hundredth birthday in July 2010, Roughing It in the Bush is a celebration of her inspiring life and work. With this exhibition, curator Nancy Campbell highlights an area of McCarthy’s practice that still remains relatively unexplored, looking at her much-loved art in a new way.
As CONTACT Toronto Photography Festival recognizes the influence of Marshall McLuhan on the 30th anniversary of his death, this biographical exhibition hosted at the University of Toronto's Art Centre's art lounge supports the adjoining The Brothel Without Walls exhibition by examining Marshall McLuhan's life and thought in relation to photography. Utilizing archival material, this exhibit looks at McLuhan's reflections on the photographic medium, while examining representations of this influential scholar in art and media.
The Brothel Without Walls opening at the University of Toronto Art Centre on May 1 is the gallery’s inaugural Primary Exhibition for the Scotiabank CONTACT Photography Festival. Presented in partnership with Scotiabank CONTACT this provoking show explores photography’s role in our contemporary media environment through the lens of communications guru Marshall McLuhan on the thirtieth anniversary of his death and one year before his centenary begins.
The University of Toronto Art Centre and the Master of Musem Studies program present an exhibition curated by Valentine Moreno on the embodiment of abstraction, featuring works from the University of Toronto collection.
The exhibition is entitled Portrait of a Patron as the 60 to 70 works it will comprise stem from the collection of one individual: Janusz Dukszta. Dr. Dukszta first commissioned a portrait of himself from Olaf von Brinkenhoff in 1953, and has repeated this exercise on a regular basis since that time.
Organized by the Milwaukee Art Museum and the Chipstone Foundation with generous support from the Windgate Charitable Foundation
8 September to 5 December 2009
Gord Peteran uses all of: fine cabinetry, found objects, assemblage and sculptural techniques to create a series of works that do no function as furniture, that are quite distinct from craft and which are not classifiable as design.
Presented by SAVAC (South Asian Visual Arts Centre) in collaboration with UTAC
5 May to 1 August 2009
The One Year Drawing Project, is an experimental drawing exchange involving four of Sri Lanka’s most critically acclaimed contemporary artists - Muhanned Cader, Thamotharampillai Shanaathanan, Chandraguptha Thenuwara and Jagath Weerasinghe.
Organized and Circulated by the Windsor Printmaker's Forum
5 May to 1 August 2009
Sense of Place is a cross-border juried print exhibition organized and circulated by the Windsor Printmaker’s Forum and juried by Iain Baxter&, Nancy Sojka and James Patten. The show brings together works by 30 artists from Canada and Michigan exploring the theme of place through printmaking.
A multiple-channel video installation by Mieke Bal
Visitors are invited to sit in armchairs or on sofas, around them women speak to someone else. The interlocutors are people close to them, intimates, but the relationship with whom has been interrupted due to the migration of the women’s children: a grand-child she didn’t see grow up; a child-in-law she didn’t choose or approve of; the emigrated child; in one case, three generations. The intimacy, but sometimes a slight uneasiness, is characteristic of the situation. Sometimes you hear the other voice, sometimes not.