{"id":10351,"date":"2012-05-05T20:45:58","date_gmt":"2012-05-06T00:45:58","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=10351"},"modified":"2012-11-30T18:16:07","modified_gmt":"2012-11-30T23:16:07","slug":"contact-2012-openings-at-the-gladstone","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=10351","title":{"rendered":"Contact 2012 Openings at the Gladstone"},"content":{"rendered":"

Thursday, May 3, 2012 7 – 10 p.m.<\/strong>
\nGladstone Hotel<\/strong><\/p>\n

\"\"<\/a>Photo: Nicholas Liang<\/p>\n

Thursday night, Gladstone Hotel was home to CONTACT’s photo shows, Be. Here. Now, Empty Vessels <\/em>and Looking Askance. <\/em>The shows were abuzz with Toronto’s art goers, who could be found either pushed up against the 100 year old walls of the hotel or getting some air on the beautiful south facing balcony. The hotel made the perfect venue with cathedral ceilings, warm wood floors, narrow hallways and small hidden rooms, perfect for an intimate moment or a break form the crowds.\u00a0 The number of works exhibited allowed the crowd to linger on some works and fly by others.<\/p>\n

\"\"<\/a>\u00a0Be. Here. Now. Installation view. Photo: Nicholas Liang<\/p>\n

Be. Here. Now, <\/em>on the second floor produced in conjunction with Exposed 2012<\/strong>. <\/em>The show was curated by David Brown and Ozant Kamaci<\/em>.<\/p>\n

Joseph Devitt Tremblay’s<\/em> photo series 23<\/em> documented the last year of his life. Inspired by fashion photography and surealism Tremblay’s series combined both still-life objects and photos of himself. This is\u00a0his first major show and it is at\u00a0CONTACT; not a bad start for a man of 23.<\/p>\n

\"\"<\/a>Joseph Devitt Tremblay in front of his works. Photo: Shauna Jean Doherty<\/p>\n

\"\"<\/a>Akas Tarmaji: The Curtain. Photo: Nicholas Liang<\/p>\n

Tom Ridout’s series, Blandscapes <\/em>\u00a0featuring nameless post-industrial spaces in an aesthetically simple yet conceptually complex way.\u00a0 For many of his projects, Ridout visits cities in decline like Buffalo and Detroit, and photographs evidence of their deconstruction. For Blandscapes, <\/em>Ridout photographed large, drab edifices with minor hints of natural life; i.e. a verdant lawn in front of a mundane office building. Ridout describes this as \u201ca subversion of nature\u201d. Zoe Bridgman’s \u00a0socioeconomic photos featured portraits of school-age children sitting in their home, a far departure from her regular portfolio of fashion photography.<\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a>Viewers and work by Annette Seip. Photo: Nicholas Liang<\/p>\n

Laurie Kang\u2019s\u00a0show, \u201cEmpty vessels make the most noise\u201d\u00a0\u00a0is on the 3rd floor.\u00a0Her abstract compositions investigates the space between image and object. She\u00a0tilts\u00a0her photographies into the surrounding space\u00a0to\u00a0create\u00a0a multidimentional\u00a0image.<\/p>\n

\"\"<\/a>Works by Laurie Kang. Photo: Nicholas Liang<\/p>\n

The exhibition on the 4th floor Looking Askance<\/em>\u00a0contains staged scenarios. Jamie Campbell’s images are focusing on ghosts by\u00a0showing them in a way that make it hard to decide what\u00a0 is fake and what is real. On Lay the gost to rest<\/em> the white sheet seems to float by itself and be occupied by a man at the same time. His legs are behind the wall while his head is in front of it giving the illusion of a starnge presence, being and not being there. Campbell’s other\u00a0 images show how these effects are created in his studio by models standing in front or behind sheets\u00a0 partly visible but more real than ghostly. The ambiguous images are mesmerizing.<\/p>\n

\"\"<\/a>Jamie Campbell,\u00a0work from Looking Askance. Photo: Nicholas Liang<\/p>\n

Text: Shauna Jean Doherty<\/p>\n","protected":false},"excerpt":{"rendered":"

\ufeffThursday, May 3, 2012 7 – 10 p.m.<\/strong><\/p>\n

Gladstone Hotel<\/strong><\/p>\n

The hotel made the perfect venue with cathedral ceilings, warm wood floors, narrow hallways and small hidden rooms, perfect for an intimate moment or a break form the crowds. <\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":1,"featured_media":10357,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41,110],"tags":[],"class_list":["post-10351","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-shauna-jean-doherty"],"_links":{"self":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/10351","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10351"}],"version-history":[{"count":11,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/10351\/revisions"}],"predecessor-version":[{"id":10354,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/10351\/revisions\/10354"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/media\/10357"}],"wp:attachment":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10351"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10351"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10351"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}