{"id":54299,"date":"2024-10-26T17:08:17","date_gmt":"2024-10-26T21:08:17","guid":{"rendered":"https:\/\/www.artoronto.ca\/?p=54299"},"modified":"2024-10-26T19:53:17","modified_gmt":"2024-10-26T23:53:17","slug":"art-toronto-2024-2","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=54299","title":{"rendered":"Art Toronto 2024"},"content":{"rendered":"\n

Art Toronto 2024 \/ <\/strong>Metro Convention Centre, North Building<\/p>\n\n\n\n

October 24 – 27, 2024<\/p>\n\n\n\n

Art Toronto celebrates its 25th anniversary this year with over 100 Canadian and international art galleries. This year’s Art Toronto has many installations scattered throughout the Fair as well as plenty of talks and programming. The Fair\u2019s Director Mia Nielsen has curated an exhibition titled re: connecting in celebrating the 25th anniversary. It was a great opportunity to see some of our favourite Canadian artists under one roof.<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Installation view of Art Toronto 2024<\/p>\n\n\n\n

Near the entry way by the escalator was Nicholas Crombach\u2019s installation titled \u201cChariot Burial\u201d (2023) presented by Art Mur. Stepping off the escalator you see artist Sami Tsang’s \u201cBloodless Wounds From Poisonous Roots\u201d (2024, 9 mixed media) presented by Cooper Cole.<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Nicholas Crombach\u2019s installation, Chariot Burial, 2023<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Sami Tsang, Bloodless Wounds From Poisonous Roots, 2024<\/p>\n\n\n\n

Walking to the left you will see the National Gallery’s booth and work by Denyse Thomasos, \u201cRally\u201d <\/a>(1994, acrylic on canvas), in Olga Korper Gallery\u2019s booth.<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Denyse Thomasos, Rally, 1994, acrylic on canvas<\/p>\n\n\n\n

I also saw some sales with red dots such as Melanie Authier’s \u201cThe Departure and Return\u201d (2020, acrylic on canvas, Olga Korper Gallery), sold for $38,000. John Scott\u2019s \u201cLost Boy\u201d (mixed media) at Nicholas Metivier Gallery was also sold.<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Melanie Authier, The Departure and Return, 2020, acrylic on canvas<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

John Scott, Lost Boy, mixed media<\/p>\n\n\n\n

There were some other familiar artists I had not seen in a while such as Attila Richard Lukacs and Kim Adams. Adams\u2019 large work \u201cArrived\u201d uses miniature models and faux rock. A fun piece.<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Attila Richard Lukacs, NYO, 2008 (top) and Untitled, 2007 (bottom)<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Kim Adams, Arrived, miniature models and faux rock<\/p>\n\n\n\n

I stumbled on Audie Murray’s \u201cConsume\u201d (2024), a cake like work with colourful beads for icing at Fazakas Gallery. I had to pass on Collectors in Conversation as I had only so much time but I would have liked to have stayed for the hour-long talk. I saw a few familiar gallery dealers in the thick of sales with potential clients. I thought it is best not to bother them. There is a lot of pressure at a commercial fair to make it worthwhile and pay all the bills.<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Audie Murray, Consume, 2024<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Collectors in Conversation<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Paul Petro of Paul Petro Gallery in his booth<\/p>\n\n\n\n

I noticed Art Metropole’s booth. Good to see them present at the Fair. I got a kick out of John Will’s \u201cOld But Old\u201d (2015) at Norberg Hall from Calgary. I saw Graham Gillmore’s \u201cLucky to Be Good\u201d (2024, oil on panel). I have been a fan of his work for years.<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

John Will, Old But Old, 2015<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Graham Gillmore, Lucky to Be Good, 2024, oil on panel<\/p>\n\n\n\n

One of the largest works at the Fair was \u201cStudio Rat, Plastiscapes\u201d (2024), presented by Blouin Division. The towering balloon like structure dwarfed the curious visitors. Douglas Coupland’s \u201cTexaco Gasoline via other Voices Other Rooms\u201d (resin on panel) was appealing.<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Studio Rat, Plastiscapes, 2024<\/p>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Douglas Coupland, Texaco Gasoline via other Voices Other Rooms, resin on panel<\/p>\n\n\n\n

Art Toronto is a commercial art fair but there were some works that were challenging and having the installations spread throughout the fair gave it a little edge. It was a quick visit and I will return to see more and have a longer engagement with some of the work. This year\u2019s Art Toronto will not disappoint those who enjoy art and for those who can afford it… take some home. Not bad for 25 years of hosting 100 galleries and thousands of visitors and collectors.<\/p>\n\n\n\n

Text and photo: Phil Anderson<\/p>\n","protected":false},"excerpt":{"rendered":"

by Phil Anderson<\/strong><\/p>\n

This year\u2019s Art Toronto will not disappoint those who enjoy art and for those who can afford it… take some home.<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":1,"featured_media":54337,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,77],"tags":[],"class_list":["post-54299","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-phil-anderson"],"_links":{"self":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/54299","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=54299"}],"version-history":[{"count":30,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/54299\/revisions"}],"predecessor-version":[{"id":54336,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/54299\/revisions\/54336"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/media\/54337"}],"wp:attachment":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=54299"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=54299"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=54299"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}