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<\/a><\/figure>\n<\/div>\n\n\nThe Opening Reception on October 14, 2023 at Gallery 1313<\/p>\n\n\n\n
The exhibition, curated by Adrienne Trent (who also had work in the show), was jam packed with an eclectic mix and many gems among them. Photographer and former OCA student George Whiteside <\/a>came to the opening reception despite a recent stroke. His work Painted Doodle<\/em>, a digital laminated print, shared a wall with Frank Perna\u2019s acrylic on canvas piece, There is no Monsanity Clause<\/em>. In front of these works on the floor was Simon Muscat\u2019s Canoe Headstone<\/em> made from South African granite. It weighs in at about 500 pounds and is a focal point.<\/p>\n\n\n George Whiteside with Painted Doodle, digital laminated print<\/p>\n\n\n Frank Perna in front of his work There is no Monsanity Clause, acrylic on canvas<\/p>\n\n\n Simon Muscat and his sculpture Canoe Headstone, South African granite<\/p>\n\n\n\n Just around the corner is Adrienne Trent\u2019s Heads Together<\/em>, a mixed media work of plaster foam heads. Artist Rirkrit Tiravanija has a cocktail tray with mock cocktails. On the tray are the words \u2018Fear Eats the Soul.\u2019 He was absent from the reception as he had an opening at MOMA in New York. Success has its obligations.<\/p>\n\n\n Adrienne Trent with Heads Together, a mixed media work of plaster foam heads<\/p>\n\n\n Installation work by Rirkrit Tiravanija<\/p>\n\n\n\n There are a few video works, such as Janet Bellotto’s Coral Grief,<\/em> a one-minute digital video. Steev Morgan had an interactive video work Retroflective video, Hands and Faces<\/em> (1979, 1985, 2023). Ian Carr Harris, one of his former instructors, came to the reception.<\/p>\n\n\n Steev Morgan with his video, Hands and Faces, 1979, 1985, 2023<\/p>\n\n\n Ian Carr Harris (left)<\/p>\n\n\n\n A few artists had QR codes such as Douglas Walker. His print work UNtitled R915<\/em> (1985) made references to Gallery 76 which was near OCA on McCaul. Later he caught my attention when telling stories of the old days at Gallery 76. There was also a print that included the Sandy Simpson Gallery on Queen St. West near Spadina, gone by now, but a sample of the 80s period.<\/p>\n\n\n Douglas Walker with his prints<\/p>\n\n\n\n I liked Owen Ford\u2019s Untitled<\/em> <\/a>canvas from 2015. I remember Denise Cooper from Loop Gallery when it was on Queen St. near Gladstone. Her recent work from 2023 Beloved Earth from Sky<\/em> is oil on masonite. Cathy McNeil’s Ontario Place,<\/em> a pencil drawing on paper, was another favourite.<\/p>\n\n\n Owen Ford, Untitled, painting on canvas, 2015<\/p>\n\n\n Denise Cooper, Beloved Earth from Sky, 2013, oil on Masonite<\/p>\n\n\n Cathy McNeil with her work Ontario Place, pencil drawing on paper<\/p>\n\n\n\n Nestled in a corner was glass maker Alfred Engerer\u2019s work, Madonna<\/em> (1996) a sculptural piece of solid hot worked glass. John Redekop\u2019s Tablet #11<\/em> is a round work using newspaper, varnish, wood and paint. A striking piece.<\/p>\n\n\n John Redekop with Tablet #11, newspaper, varnish, wood and paint<\/p>\n\n\n\n There is certainly no shortage of different mediums used in the exhibit. Fashion designer, Kingi Carpenter has a silk-screened work that visitors could try on as well as individual T-shirts themed by participating artists. Artist Joe McClean even has some streaming audio titled, A Friend in both Worlds<\/em>. Carolyn White’s artwork from 1980, X Marks the Spot,<\/em> is definitely a period piece.<\/p>\n\n\n Kingi Carpenter showing her silk-screened works<\/p>\n\n\n Installation view with Joe McClean\u2019s A Friend in both Worlds<\/p>\n\n\n\n John Abrams painting Late Nature (Walking Wolf)<\/em>,<\/em><\/a>\u00a0oil on panel, is very impressive. In fact, everything in the exhibit seems to be placed well and to hold its own.<\/p>\n\n\n John Abrams with his paintings<\/p>\n\n\n\n Thanks to the curator, Adrienne Trent, her friend Natalie Olanick and gallerist, Carla Garnet, who positioned the works, a challenge with so many styles and mediums.<\/p>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n