-starting with a 1993 original screenprint by Lawrence Weiner
Stool, 1955, is an early, iconic drawing by Michael Snow available at WTG.
For more early and seminal work a remarkable exhibition, Early Snow: Michael Snow 1947-1962, guest curated by James King, will be opening at the Art Gallery of Hamilton this Saturday, February 8, continuing until May 24.
The show opens to the public at noon, with remarks at 3:30pm, and a performance by Michael Snow and CCMC at 4pm. Other events are also scheduled.
The exhibition will feature an ambitious range of media including painting, sculpture, film, video and works on paper.
Accompanying the exhibition is a fully illustrated catalogue with essays by James King, Professor, Department of English and Cultural Studies at McMaster University, including a preface by Michael Snow.
For more information:
Listening to Snow is the title of a new exhibition of works by Michael Snow opening at the Art Museum, University of Toronto, Justina M. Barnicke Gallery, January 18, 3-5 pm, curated by Leora Belford.
“Listening to Snow is a devoted-to-listening space, a music box, focusing on ideas and thoughts arising from a selection of Snow’s sounds. Composed and tuned, the exhibition manifests as one sonic experience from three sound installations [Diagonale (1988), Waiting Room (2000), Tap (1969-1972)], one screening [Solar Breath (Northern Caryatids) (2002)], two recordings [Falling Starts, W in the D (1975)], and a piano for Snow’s performance – all sharing the same acoustic space.
The exhibition is part of the Hart House’s centennial programming recognizing the special place the institution holds in Snow’s biography.”
The exhibition runs until March 21 and will also include a number of special events.
For more information;
Early Snow: Michael Snow 1947-1962 opens at the Art Gallery of Hamilton, February 8 until May 24, 2020.
Guest curated by James King, Professor, Department of English and Cultural Studies at McMaster University, the exhibition will feature an ambitious range of media including painting, sculpture, film, video and works on paper.
Accompanying the exhibition is a fully illustrated catalogue with essays by James King and a preface by Michael Snow
For more information;
Mary Pratt and William Kurelek
Bathed in light – these lovely hand printed, original stone lithographs by Mary Pratt and William Kurelek are full of joy.
Both lovingly drawn directly on the lithographic stone by the artists.
Pratt building the print with 14 colours, a classic early work, reflections in the foil, reflections of the moment.
Kurelek conveying the pure and simple pleasures to be found in, and reflections from, his early days on the farm.
Nature and Wisdom
William Kurelek mixes love and compassion in this rare painting centered on the tender scene of home and domesticity, while touching on a number of classic/trademark Kurelek interests–the droll humour of the knowing and mischievous cat hungrily eyeing the proceedings, while perched on a stand emblazoned with the motto Nature and Wisdom (see detail). Out the window we see not a misty Renaissance landscape referenced by the composition, but the joy of youthful play in a verdant garden with, in the distance, a dog chasing a ball and a kite reaching into the heavens
The painting is surrounded by Kurelek’s trademark style handmade frame, which compliments the nature of the painting and relates to the finely detailed painted wallpaper within.
Kurelek donated the painting to the La Leche League International Conference which was held in Toronto in 1977, where it was acquired by the current owner from a fund-raising silent auction.
-the yellow rectangle contains glorious content
-stencils and collage
-daily thought and rumination
-time of day and time of life
-the events and people contained within them
-sometime, somewhere, there
-in a yellow glow of light
We have moved! –with a bike for two. And much more!
This Kim Adams work Every Which Way is, among other things, about cooperation–the ultimate vehicle/art of working together–perhaps something that can be looked at as a good world view right now. There is a driver and a steerer, and working together is the aim, as the bike/job will not get anywhere without both.
That’s how we started in 1968, as a short-lived cooperative of art students at 26 Spadina Road. From there we moved to 73 Jarvis Street as Aggregation Gallery. By 1969 it was just the two of us, David Tuck and Lynne Wynick, working together and, for years to come, with the many remarkable artists and the community.
We continued. From 73 Jarvis Street to the storefront warehouse space at 83 Front Street. Then, in 1982, renamed the Wynick/Tuck Gallery, to the expansive warehouse space at 80 Spadina Avenue. In 2000 we moved to the last of our downtown spaces, Suite 128 (the large ground floor space) and later to S27 (the diminutive space) at 401 Richmond Street West.
And here we are now, Wynick/Tuck Gallery at Lakefront. We are surrounded by the art that we have always reveled in and with the added advantage of looking out to the lake in The Beach–all our combined experience over 51 years bound into a new adventure!
Stay tuned for more from WTG at Lakefront.
There are moments when works of great stillness and directness need to be looked at fresh.
Such is the case of these two drawings from William Kurelek and Michael Snow–early works that through time remain relevant, getting to the core of the subject, while just what they are.
They brought her the colour and light that she reveled in. Not that they didn’t provide some challenges along the way but, as in this exceptionally fine plein air panel from a 1999 sketching trip to Tuscany, catching the cloud formations and the changing light falling over the abstracted structure of the hills and rows of trees was worth every drop of life affirming rain to the dry countryside.
McCarthy’s mastery of the brushstroke further captures the ebb and flow of the land in this bold painting.
Colour Now! As Spring rains lead the way to many shades of green.
Flags for bicycle races; brightly coloured car roofs; colour and charting abstraction. From Greg Curnoe, Kim Adams and Jaan Poldaas.
Here he has refined his materials to the essential elements, as part of a series of works from the early 2000′s that combined simple structures, minimalist art practice and the dockyard–the piling up of the containers–a nod towards a futuristic condo development on a barge at waters edge–the reflective surface of the black plastic mimicking the water.Blue Sky and Richmond St. in London on this day of 1962. Curnoe’s studio was on Richmond St. where he created lists on lists and collages of the everyday–telling a story, a diary perhaps, a landscape, a still life, and an autobiography.
American art critic John Chandler claimed Curnoe had been making conceptual and process art before the terms were coined.
Curnoe chronicled his day-to-day routines – striking and ‘colourful’.
In 1955 when Michael Snow was 26 and at the beginning of his groundbreaking career, before his seminal and internationally renowned film, Wavelength, and the Walking Woman multi media work, and so much more, this drawing, Stool, vibrating with life, happened!
It was one in a series of his work, drawings, paintings and other media, that marked the innovative and experimental beginnings of his ‘shapeshifting’ body of work, –so far.
As he once put it; “My paintings are done by a filmmaker, sculpture by a musician, films by a painter [...] sometimes they all work together.”
Tomorrow at the AGO, Snow’s work and life are being celebrated
Wednesday December 12, 7 pm
Walker Court, Art Gallery of Ontario
The AGO is honouring Michael Snow, Canada’s preeminent artist, on his 90th birthday. In addition to remarks and reflections, Snow will be performing with his long-running music project with CCMC, including other Canadian art luminaries such as Paul Dutton, John Kamevaar and John Oswald, in addition to Mr. Snow himself.
The AGO holds the collection of record for this prolific artist as well as his archives, and several of his works will be on view throughout the museum for the occasion: Expo Walking Woman series of the sculptures from 1967 in the Maxine Granovsky & Ira Gluskin Hall; iris-IRIS (1972) in the Philip B. Lind Gallery; and Conception of Light (1993) on the 4th floor of the Contemporary Tower.
This rare McCarthy painting from the mid 50′s is brimming with the life of Fool’s Paradise, Doris McCarthy’s home and studio on the Scarborough Bluffs, Toronto. Her kitchen with its hand made (by Doris) knotty pine cupboards and back splash, provides the background for this animated still life that captures the “life” in Doris’ abode.
The kitchen was the centre of her home with a view out to the lake from one window and a carefully designed rectangular opening at one end to reveal a view of her studio and, specifically, the end with her easel. When taking a break from painting, making a cup of tea or in the morning starting the day with an hearty breakfast, the most recent work on the easel could be viewed and appraised by McCarthy.
This painting would have been on that easel many years ago. It has been newly conserved and framed and it is a pleasure to have this work for sale now.
William Kurelek worked for many years for the Isaacs Gallery, framing many other artists work. He was also known to spend many hours on his own frames for his paintings, personalizing each frame and making them part of the whole painting.
He prized his tools and often they became subjects as in this fine still life painting. These paintings of tools and implements (often painted size-as) comprised one of the Kurelek’s much appreciated sub-series over many years, with examples found in many significant collections, including the National Gallery of Canada. In his everyday subjects, the life he lived and witnessed, in and outside his home and studio, filled many of his paintings.
He has elevated the ordinary hand saw in this painting to a place of the personal significance, surrounding it with fragments from the studio. The viewer can enter his time and place through this work.
The luminous blue mountains in this 1974 painting, not long after the abstract paintings of the 60′s, owe much to that seminal period. The ‘monumental’ patch of blue opens up this painting to a scale that this subject deserves. The houses in the foreground are on a plateau that drops off to reveal a glorious yellow woods in the middle ground. They take you for some distance, seemingly to the mountains beyond. The sturdy little buildings, bathed in light, are welcoming, also inviting entry into this beautiful en plein air painting and balancing the mountains beyond.
McCarthy had a certain knack for successfully bringing the viewer into her place and this is a place she frequented whenever possible, at the foot of the western Canadian mountains.
The big sky perfectly balances the rolling foothills in this impressive studio painting. Completed later in McCarthy’s career, following a spring en plein air painting trip to the foothills of Alberta, McCarthy again captures the blue mountains, abstracting the whole, the light and movement of the clouds rippling and storming along changing the light over the hills as they go. A massive scene remembered, something McCarthy was so adept at doing, no more so than in this one.
Celebrating 50 years!
Today marks the 50th anniversary of our opening on Jarvis Street, Toronto, November 15, 1968.
Summer, 1968, before the renovation of 71 Jarvis Street, (Used Clothing), for our first gallery space. A year later, we moved to the larger space next door, then on to four others over the years.
Follow the link to our blog entry from 2012.
and a concise history in the ‘about’ page of our site:
The next in the edition of Wood Calling Bronze has just arrived at WTG@S27, our 401 Richmond studio.
The wooden maquette of a 50′s era phone originally starred in the Michael Snow’s 1985 holography installation Still Life in 8 Calls, in one of the ‘calls’ of each work of the 8 holograms. Still Life in 8 Calls was commissioned for the Vancouver’s Expo ’86 and is now in the collection of the Montreal Museum of Fine Arts.
In 1989 a little modification was done to the all-wood original phone to make it cast-able and in the maquette’s casting (and destruction, as part of the casting process), its final calling to bronze –still pulsing with energy and history to this day.
For further images: The Centre for Contemporary Canadian Art
The Canadian Art Database: Artist Files, Image Detail View,1985, Still Life in 8 Calls
On October 28th, Snow is playing in a synthesizer duo as part of The Bentway’s programming.
More info here:
Opening on October 24th, Snow has work included in a large group exhibition of very small works at the OCAD Onsite Gallery.
More information here:
From farm life to desert plains, William Kurelek did not shy away from the speaking his mind in his paintings, drawings and original prints.
In these deeply moving and often beautiful works the viewer cannot help but be challenged and changed -feeling the joy and the pain. And as a result, a celebration of life in all its forms.
In looking at two works, Michael Snow’s Wood Calling Bronze,1989, and Kristan Horton’s Dr Strangelove Dr Strangelove, dr0027-s012,2003, we found some intriguing connections. For us there lies an uncanny perceptual disturbance in both works – a shattering and re-construction.
The phone and its ‘cord’ that star in the Michael Snow bronze sculpture Wood Calling Bronze, was originally made to be holographed in one of the ‘calls’ of each work of the 8 holograms in his 1985 holography installation Still Life in 8 Calls, commissioned for the Vancouver Expo ’86 and now in the collection of the Montreal Museum of Fine Arts. In 1989 a little modification was done to the all-wood original to make it cast-able and in the maquette’s casting (and destruction as part of the casting process), its final calling to bronze –still pulsing with energy and history.
Kristan Horton, a mid-career artist whose practice became quite noteworthy in the the early 2000s, recreated frames from the 1964 Kubrick film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, using every day ephemera found around his studio to build a model which he then photographed, juxtaposing the resulting photograph with an image/frame from the film.
The resulting work recalls and layers the tension, drama and ironic qualities of the Kubrick film.
With the arrival this fall, in our S27 studio at 401 Richmond, of one of the iconic McCarthy abstract paintings, Banner #2, 1968, we brought out the equally dynamic and seminal Greg Curnoe work, America. McCarthy’s painting maps passages of pure colour, her summer studio place on the shores of Georgian Bay, the patches of mosses, grasses and pools of water in the jagged rocks. Curnoe looks at the larger terrain of North America, redesigning it, also with glorious colour passages, to his own liking. And with these two artists we looked further to Jaan Poldaas’ colour collage, Twelve Colour Pair Study 2, “a constant struggle of will and law” as described by Roald Nasgaard in his book, Abstract Art in Canada.
A triumvirate of sorts – a revelation of colour and place and of placing.
One of McCarthy’s favourite places to visit over many years was Newfoundland. In the early years McCarthy traveled to the outports by supply boat, which was often the only way to get to these isolated places. McCarthy painted Newfoundland with the emphasis on the inlets and fiords where the simple structure, generous hills and mountains and water reflections provided her with the possibilities for experimenting with form, colour and abstraction as in this fine painting.
On one of the few occasions where McCarthy ventured to the Canadian Arctic in the colder months, (in this case January, Igloolik and Pond Inlet), rather than the expected 24 hours of night light, she discovered, much to her surprise and delight, 24 hours of twilight of various degrees and colours. The flows that were so changeable in the summer months here are locked into place making for a very still and calm, almost ethereal experience. With enormous sensitivity and ability she has very successfully painted the immensity of the landscape and the subtleties of light in this impressive painting.
McCarthy was born in Edmonton, Alberta, leaving with her parents for Ontario when she was 2 years old. The land seemed to be ingrained in her even at such an early age and she returned to the foothills and the mountains from her young adult years throughout her life.The big skies with changeable weather, expansive rolling hills and distant mountains gave her much fodder for her paired down abstraction and colour . She packed this painting with an amazingly moody sky which she balanced with the light filled, gently rolling hills in the foreground and a slice of storm filled mountains wedged between.
Saturday, May 14 and Saturday, June 4, 11-5pm
Including work by Kim Adams, Sara Angelucci, Nicole Collins, Greg Curnoe, Kristan Horton, William Kurelek, Cal Lane, Doris McCarthy, Evan Penny, Ted Rettig, Jaan Poldaas, Michael Snow, Lawrence Weiner.
In our studio we often discover engaging relationships between the works in the collections -a surprising connection between a fine Michael Snow drawing and an Evan Penny bronze study, for instance, or the bold shapes in a McCarthy 1960’s hard edge abstract painting and the and a early conceptual work from the 1970’s Maintenance paintings of Gerald Ferguson.
From time to time we share these moments of visual pleasure and, often, thought-provoking associations through small curated installations as in this current grouping.
As always, Kim Adams harnesses his and our imaginations, melding the everyday: the hardware store, the wrecking yard, the model maker’s shop, etc. to create substantial and thought provoking works.
The sculpture, Auto Office Haus, 1997, a seminal work, was exhibited in the prestigious international exhibition, Skulptur Projekte Münster, held every ten years in Münster, Germany. Adams was invited to make a large scale, semi-permanent sculpture to sit atop a local 1950’s era taxi stand, now Café Gasolin. He envisioned his work as a fictive office and house for the drivers below. The model for Auto Office Haus was made in conjunction with the Munster Project and exhibited originally at the Westfälisches Landesmuseum, Münster, (Westfalian State Museum of Art and Cultural History). It is encased in a car-shaped, vacuum formed clear plastic cover.
The iconic Walking Woman Works were the focus of Michael Snow’s studio practice from 1961-67 while in New York. Snow decided that the contour from the original Walking Woman cut-out would remain constant throughout. The change of materials and methods that he employed was at the core of a tremendously influential, multi-media practice still resonating to this day. The rare frottage drawing, Appearance, with the two juxtaposed stencil rubbings captures the energy of the period.
In 2005 as part of our Artists Presents series of exhibitions at WTG, Kelly Mark introduced the work of Kristan Horton, in a solo show, Dr. Strangelove Dr. Strangelove. It was very well received and Horton’s work has gone on to be collected and exhibited extensively in public and private collections.
In an article on the Contemporary Art Gallery’s Vancouver presentation of this series in 2007, Robin Laurence states:
Homage, obsession, appropriation–these postmodern impulses are folded into Kristan Horton’s solo show at the Contemporary Art Gallery. The Toronto artist’s series of black-and-white photographs (38 on view here, out of a total of 200) examines and restages scenes from Stanley Kubrick’s 1964 film, Dr. Strangelove. Subtitled How I Learned to Stop Worrying and Love the Bomb,—.
—The artist’s mimicry is inspired, obsessive, and sometimes ludicrous–a small-scale reiteration of the very qualities seen in the film. —
Each of Horton’s works consists of a still from the film paired with his hilarious mimicry of that scene. Produced in miniature in his studio, Horton’s sets employ the most banal of at-hand objects, such as clothespins, cutlery, screwdrivers, felt markers, plastic bags, twist ties, and bottles of soy and Tabasco sauce. —
Zone, the 1980 multi layered watercolour by Greg Curnoe on one hand references Appolinaire’s poem Zone, (a walk in Paris from one sunrise to another and from one time zone to another). Walks and Curnoe’s immediate and geographical surroundings are central in his work. On the other hand, the Zone overlaying the stenciled text, Tecumseh, might be a reference to the town of Tecumseh and its namesake and/or Zone Township, both places near to Curnoe’s home in London, Ontario. And the bright red circle or wheel encompasses all.
Preceding Zone by 18 years and also available is the rare Curnoe 1962 hand made book The Walk. It was included recently in the important exhibition Traffic: Conceptual Art in Canada 1965-1980, at the Justina M. Barnicke Gallery, University of Toronto and the subsequent tour across Canada. In this book Curnoe documented with stamp pad ink on paper one of his walks through London, ON.
Jaan Poldaas creates a program of self-imposed rules for each body of work. In his book Abstract Art in Canada, Roald Nasgaard includes a section on Poldaas, in which he states,
Colour for Poldaas was ‘a separate attribute’ to focus on, much in the same way that Richard Long was concerned with length, Carl Andre with area, Richard Serra with weight… [The subject matter of the Twelve Colour Pair series, 1997, is] a kind of game of reward and punishment. It begins with the artist deciding on three shades each of four colours: red, green, blue and grey. The project is to make painting pairs in which each panel will be made up of four parallel bands of colour selected from the twelve options…In selecting and arranging the four colours of his first panel, he allowed himself to indulge his own tastes. [but] the strictest of rules are set in place to determine how the second panel would be composed to ensure that it was a kind of opposite… A constant struggle of will and law
We are located in Studio S27, which is in the SW corner corner of the lower level (if you enter by the west/front doors) or ground floor (if you enter from the east side or parking lot doors).
One of McCarthy’s favourite places to sketch was in Ireland in the Spring. The frequent storms and rain not only gave nourishment to the land it provided Doris with vibrant colours and stormy skies. The immediacy of plein air painting is very apparent in this fine watercolour. One can almost hear the wind and the swaying branches, feel the breeze and smell the fresh earth and vegetation.
During David Bierk’s many travels he sketched and photographed the landscape, combining his painting facility with a fine photographic eye. In this finely balanced photo montage he captures the transitional nature of light in the French countryside while alluding to the work of Claude Monet.
Bierk’s photo based works were included in The Painted Photograph, a three-person exhibition organized and circulated nationally by The Canadian Museum of Contemporary Photography in 2005- 2006.
In Angelucci’s own words; “The Timescape series is made of film-strip-like narratives marking a particular measure of time and space. Shot on the fly, during a walk or train ride, or from a car window, each strip maps a small journey: some a daily routine, others more unusual and of greater significance. Each Timescape seeks in its own way to fix a passage of time and place, while at the same time carrying a continuous sense of dislocation and transition.
The rough and ready hills and sturdy houses of the Newfoundland ports intrigued McCarthy with their patterns of shapes and colours. She painted them often during her many visits there capturing, as here, the spirit of the place and its inhabitants.
Greg Curnoe traveled to Pangnirtung and Frobisher Bay, Nunavut, in 1971, recording and painting as he went, capturing in this exuberant watercolour sketch the summer light and brilliant bursts of colour.
For the much visited Niagara Falls, Wiliam Kurelek focuses his gaze on the fragility of the boat, here almost overtaken by power of the falls. The finely rendered, hand drawn stone lithograph heightens the immediacy.
A new collection of small work:
Curnoe, Kurelek, Poldaas, Pratt, Rettig, Snow, Weiner
We are pleased to present a collection of works on paper, multiples and editions, including fine original prints by William Kurelek, Lawrence Weiner, Ted Rettig and Mary Pratt. Jaan Poldaas’ early studies and Greg Curnoe’s watercolour remain as vibrant as ever. A rare drawing from Michael Snow’s Walking Woman project along with his limited edition sculpture, Wood calling Bronze, complete this new grouping.
Doris McCarthy travelled far, throughout Canada and abroad, from her early years as an art student to her later years as a senior artist. She always returned to her homes, studios and favourite locations to paint in Ontario.
We are pleased to present two recent arrivals, the very rare watercolour of her home, Fool’s Paradise, and an oil panel of the Georgian Bay view from her studio window looking out towards Juke’s Island. Together with the Dagmar Hills and Haliburton, they represent four very special places and times in McCarthy’s life.
McCarthy built her home and studio in the mid 1940s on land she had purchased from a farmer on the Scarborough Bluffs overlooking Lake Ontario. Noting the somewhat isolated location, lack of city water, steeply inclined and often muddy dirt road, her mother referred to it as “that fool’s paradise of yours” , and the name stuck. Towards the end of her life, realizing the unique qualities of FP, as she often called it, she gifted it to the Ontario Heritage Trust for an artist-in-residence program, now successfully underway.
In this iconic and rare watercolour McCarthy painted her beloved home and studio, capturing the majesty of the land and the simple welcoming structure of the building.
In the late 50’s McCarthy and two other artists bought a point of land jutting out into Georgian Bay. Each summer, in the studio that they built, she scaled up her sketching trip studies into large paintings. But no summer would go by without McCarthy spending some time exploring her Georgian Bay home for its sculpted rock and rain filled crevices, its light and its views.
Holy Point looking out towards Juke’s Island was perhaps Doris’s favourite spot on the property and never failed to provide her with ever changing possibilities, as in this work with its sweeping view and expressively painted foreground of golden grasses and iron-rich rocks of the shield.
In the fall, McCarthy, along with her peers and friends, made frequent sketching trips around Ontario. The opportunity for changing light and variable weather conditions in the Haliburton Highlands never failed to capture McCarthy’s imagination. In this beautiful oil painting McCarthy employs one of her hallmark strategies creating a richly animated foreground. Evoking the water’s rhythms, she took full advantage of the shoreline with its washed up driftwood, fallen leaves and masses of colour.
Another favourite location in the fall, closer to home, was the Dagmar Hills north of Whitby, where she took advantage of the bright crimson Sumac trees, rolling hills and snaking country roads as subject for this stunning painting.
She exhibited the work from this period of experimentation with a more vivid, Fauvist palette at the Art Gallery of Hamilton in the winter of 1949.
Open House, Saturday, May 23, 12- 4 pm
WTG@S27, Informal Ideas: time and space
Kim Adams, Greg Curnoe, Gerald Ferguson, John Hall, William Kurelek, Doris McCarthy, Evan Penny and Michael Snow.
It is always a pleasure to discover the relationships among the artists’ work in the current collections in our studio at Studio S27, 401 Richmond Street West.
The current installation pairs the Michael Snow work on paper Drawing Woman, from the Walking Woman series, and the Evan Penny Study no.4 for Mask, an early figurative sculpture. Another intriguing pairing combines work of Greg Curnoe and Kim Adams. Curnoe, in the watercolour Zone, referred to Zone township which was near his home in London, Ontario. Kim Adams’ Study for Mini Ride is a recent model referencing one of his first large outdoor installations from his early years in Vancouver.
Other related work in the collection includes John Hall, Doris McCarthy, Gerald Ferguson and William Kurelek.
The 401 Richmond Street West building will be open during Doors Open week-end, participating as Doors Ajar on Saturday, May 23.
Our door will be ajar, 12-4 pm as we welcome you to an informal gathering and to view the current collection.
We are open at other times by chance or by appointment.
We are located at the southwest corner, lower level of 401 Richmond Street West.
Over many years our annual exhibitions during March and April of work by Doris McCarthy were much anticipated. It is with pleasure now that we present some of those major works from private collections, recently made available for sale.
Mountain Image #3 is a highlight of McCarthy’s painting in the 1970′s. In conjoining the hard edge abstraction, which she had developed in the 1960′s, with the more literal landscape painting she created a dynamic body of work, lifting her career into a new realm.
It was included in the major survey exhibition of McCarthy’s work, and book, Feast of Incarnation, 1991, at the Gallery Stratford and featured in the book, Celebration of Life, that accompanied her major 1999 retrospective exhibition at the McMichael Canadian Art Collection, among others.
McCarthy made annual trips to the Canadian Arctic, from 1971 through to the 2000′s. In this prime painting from a seminal trip to Pond Inlet, McCarthy captured the immense expanse of the land and extraordinary light.
McCarthy visited Newfoundland at a time when reaching some of the small out ports and villages was not possible by road. She travelled around the coast on supply boats staying for a time at sites that interested her. Daniel’s Harbour was a favourite. The structure of the buildings and the potential for composition and light never failed to capture her imagination. With her skill in both composition and the handling of the watercolour process she could reveal the essence of the place, as in this fine work.
It was McCarthy’s custom to make at least one sketching trip in the fall. In the 1950′s that was often to Haliburton, Ontario, where for a few years she returned to the same spot on Sanctuary Lake, which held a special resonance for her. Each time she captured the changing colours and light, never the same but always memorable, as in this watercolour.
McCarthy made her first trips to Haliburton as a youth and never lost her passion for the place, travelling there whenever possible at any time of the year. For her, winter provided opportunities for studies in light and composition, taking full advantage here in Haliburton, New Years Eve Day, masterfully capturing the warmth of the huddled houses in contrast to the wintry December air.
It was the custom, on occasion, for artists travelling with their kits, painting en plein air, to to use both sides of the panels, saving costs and bulk. This is the reverse of the Haliburton, New Year’s Eve Day painting, probably done the previous summer on her annual Gaspé, Quebec, sketching and painting trip. The juxtaposition of the very different villages at opposite times of the year make for an intriguing pairing. The frame allows for viewing both paintings.
With Spring now officially upon us, out come the saws, bikes and bathing suits and dreaming of watery summer landscapes and summer travels.
A collection of works to celebrate the change of seasons!
Having welcomed in the new year and now settling into the winter months we have put together a selection of works that celebrate moments of insight, pleasure and warmth.
Greg Curnoe’s passion for cycling, racing and collecting/building bikes was often represented in his paintings. In this joyful work the horn marks the beginning of a friendly race.
Lawrence Weiner is well known for his fine multiples in various media. In this work he juxtaposes the positive text with the rough sandpaper support.
William Kurelek prized his tools: framing, painting, building, and in this case a plasterers pink trowel -his pleasure in the essence of the tool.
A box of greens, a cat on patrol, a moment in the day, caught by Mary Pratt in this fine early, original stone lithograph.
Kim Adams was asked to create a fishing hut as part of the art installation project, Ice Follies, for the White Water gallery, North Bay, Ontario, in 2004. This is one of the spirited preparatory sketches for the sculpture, Minnow Lure, now in the collection of the National Gallery of Canada.
Rettig And New Arrivals
WTG and Ted Rettig_40 Years
New assemblages, works on paper and early work
Open House this Saturday, November 22,
11am – 2pm Artist present.
Ted Rettig’s artist page.
Doris McCarthy and William Kurelek
We have just received two rare early paintings by Doris McCarthy
They were painted in the early 30’s during one of McCarthy’s summer painting trips to the Gaspé.
Visit her artist page.
In 1973, William Kurelek worked with Open Studio in Toronto to make several original, limited edition stone lithographs. We now have four new arrivals available at the gallery and on our site, Ukrainian Christmas Eve Feast, Building a Cord Cradle, Niagara Falls and Dream of Ochterka at Niagara Falls. The 1976 Kurelek lithograph, I am Beautiful, is also available. Visit his artist page.
Saturday, November 15, 2 – 5pm
Saturday, November 22, 11am – 2pm. Artist present
Forty years ago we exhibited the work of Ted Rettig in a three person exhibition of students in the Fine Arts program at York University. Vera Frenkel, professor and mentor, introduced us to the artists. The above image is a scan of the review of the exhibition in the major national art magazine of the time, ArtsCanada.
Our relationship with Rettig continues to this day and during the past 40 years he has produced numerous bodies of very fine work that we have presented in many solo and group exhibitions.
To celebrate this 40 year milestone we have installed a small grouping of Rettig’s new assemblages, a new limited edition multiple and a small survey of earlier work. We would like to share this occasion/installation during an open house this coming Saturday, November 15, 2-5pm and Saturday, November 22, 11am – 2pm. Ted will be at the gallery on the Saturday, November 22.
In Rettig’s new work he has assembled a number of readymades, manufactured glass bowls and clay saucers with the occasional addition of found rocks, attaching them in vertical pilings. They are dramatic and unexpected while keeping the fine balance of subtlety and spiritual rightness found in all of his work.
To compliment the new work we have included a mini survey of some of the work that we have exhibited over the years. Included is the stone in the top image (centre stone on metal plinth) in the image from the first exhibition. It is fascinating to see the connections between the work and how the assemblages relate to Rettig’s drawings and carved sculpture. The installation will remain until November 29.
The 1974 exhibition was during our tenure at 83 Front Street East, our third location as Aggregation Gallery (our previous name before changing it to Wynick/Tuck Gallery in 1982 when we moved to 80 Spadina Avenue.).
Rettig’s Work is included in many public institutions including the Art Gallery of Ontario; Art Gallery of Hamilton, Hamilton, Ontario; E.P. Taylor Library, Artists’ Bookworks Collection; Canada Council Art Bank, Ottawa; Government of Ontario Art Collection, Toronto; and the National Gallery of Canada Library. His work is also well represented in the Donovan Collection, University of St. Michael’s College, University of Toronto.
We hope you will be able to drop by for a visit. We are open by appointment at other times. firstname.lastname@example.org; 416-504-8716
Our new quarters our located on the lower level at 401 Richmond Street West, Studio S27, at the south west corner of the building. Parking is available on Saturdays behind the 401 Richmond building.
We are also open by appointment at WTG@S27, 401 Richmond Street West , Studio S27, email@example.com
We invite you to visit our new downsized studio/office/viewing space. We will be open coinciding with the building’s Doors Open weekend, Saturday and Sunday, May 24 and 25, 12 am to 5 pm at 401 Richmond Street West, Studio S27. At other times we will continue to be open by appointment or by chance.
For this occasion we will have on view recent arrivals including a collection of Michael Snow’s Walking Woman drawings – a rare grouping – and Greg Curnoe watercolours, along with a selection of other fine works from our racks, Doris McCarthy, Ted Rettig, Kim Adams among others.
Drop by and catch up with us in our new format as private dealers and art appraisers.
You will find us on the basement level at the south-west corner. Just head down the elevator and follow the signs by turning left to the end of the hall and then left again. Or if you are using the front lobby main staircase, just keep heading in the same direction until you reach our red door, Studio S27.
Looking forward to seeing you,
Lynne and David
In our new studio/office/viewing space we often discover engaging relationships between the works in the collection. From time to time we will share these moments of visual pleasure and, often, thought-provoking associations through small curated groupings. In the grouping below the focus is on the reflected, coupled, duplicated and doubled image.
We are also very pleased to congratulate Kim Adams and Carol Wainio, among this year’s recipients of the Governor General’s Award for Visual and Media Arts. An exhibition of the GG’s Award Winners opens at the National Gallery of Canada, March 27. For more information about the awards visit: ggavma.canadacouncil.ca
informal ideas_WTG@S27; Couplings
From Wainio’s early years she has embraced figuration and layering of fairy tale illustrations, children’s drawings and images from mass culture, -creating new and relevant stories within her masterful and beautiful paintings. Wainio often worked with paint on paper for her smaller works.
Adams has long been fascinated with the double headed concept – double headed bikes and trucks and models that have been “kit bashed”. The models and related drawings are thoughtful, current and highly imaginative constructions. This drawing relates to one of four large works commissioned by the Vancouver Art Gallery as part of its program On Location Public Art.
We are very pleased to have a rare early work on paper from Michael Snow’s the Walking Woman series. This small and very powerful work is a quintessential Snow from this period. At that time the walking woman silhouette was one of the major focuses in Snow’s explorations in painting, sculpture, photography and multi-media works.
Kristan Horton spent many hours obsessively studying the classic Stanley Kubrick film Dr. Strangelove. Using found materials from around his studio he created his major photographic series, Dr. Strangelove Dr. Strangelove (2003–6).
Ted Rettig has since the early years of his career made constructions of everyday objects; dishes, lamps, lights, bricks, etc.. He invests the work with a serene spiritual quality while producing beautiful assemblages. In the new work, Model #4, Rettig has folded the material into a totemic structure.
It is always a pleasure when we discover a relationship between works in our collection at WTG. The two paintings below, Loon Lake, 1966 and Antarctica from the Heights, 1991, shown together offer us a fine view of McCarthy’s ouvre. They are not only a visual treat but also a reminder of how the experimentation with abstraction taken by McCarthy in the ’60′s influenced her work for years to come.
McCarthy’s work continues to be an inspiration to many as can be seen in an upcoming public gallery exhibition.
Curator Jennifer Rudder and artist Alexander Irving have curated the exhibition Glam North: Doris McCarthy and Her New Contemporaries, celebrating McCarthy’s abstract paintings alongside works by contemporary artists for the Doris McCarthy Gallery at the University of Toronto, Scarborough.
The opening is February 26, 5-9 pm. The exhibition continues through April 12, 2014
Glam North: Doris McCarthy and Her New Contemporaries
February 26 – April 12, 2014
Work by David Clarkson, Sarah Anne Johnson, Colette Laliberté, Angela Leach, Doris McCarthy, Alex McLeod, Laura Millard, Samonie Toonoo and Robert Wiens
Guest curated by Alexander Irving and Jennifer Rudder
In honour of the tenth anniversary of the Doris McCarthy Gallery, curator Jennifer Rudder and artist Alexander Irving have selected a number of works by Doris McCarthy from the gallery’s permanent collection – many of which were recently acquired as part of a substantial gift from the McCarthy Estate – to be exhibited alongside works by contemporary artists that have an affinity or resonance with McCarthy’s oeuvre.
Considering the artists’ approach to the landscape, to capturing a sense of place, to our relationship with nature, and to the act of painting, the exhibition celebrates Doris McCarthy’s work through a contemporary lens.
Doris McCarthy sought out the waters edge and the many possibilities for subjects for her painting throughout her career. In the early years she and other artists travelled often to the Gaspé region of Quebec . It was relatively untouched by the industrial world in the early 30’s and McCarthy took full advantage of the fisherman’s villages, the life and tools of the trade as in Fisherman’s Shack.
Whenever McCarthy could she travelled to foreign destinations. One of her favourite places to paint was Ireland , particularly in the spring. Though the frequent rain storms were a challenge she embraced the resulting changes in the landscape, the colour, pattern and light. In White Sands at Morar she was able to capture shoreline details as well as the immenseness of the landscape.
Pattern and abstraction had become a preoccupation for McCarthy in the mid 60’s. In 1959 she and several other artists pooled their resources to buy a property on Georgian Bay where she built a summer studio and focused her attentions on the rugged beauty of the Georgian Bay shoreline and expansive water views. Wave Movement #8 came towards the end of her hard edge period and signaled the work of the 70’s and particularly the icefloes and icebergs.
McCarthy continued to travel extensively following her retirement from teaching. As always drawn to the water, in 1991 at the age of 81, she chose to take a trip to one of the few places in the world she had not yet been, the Antarctic. The more mountainous terrain than the Canadian Arctic was a revelation to McCarthy. In the painting, Antarctica from the Heights, she took full advantage of the high, long vistas to capture the craggy and everchanging landscape. And, of course, indulge in the abstraction of the ice floes.
In our new studio/office/viewing space we often discover engaging relationships between the works in the collections. From time to time we will share these moments of visual pleasure and, often, thought-provoking associations through small curated groupings. In the grouping below the emphasis is on the portraiture.
In the last body of work Greg Curnoe produced he focused on his self portraits, pictorial watercolours and stamped lettered work. In these lettered work on paper he referred to the text “I am” in four languages; English, Cornish, French and Objiwe (as in MI ).
Sara Angelucci often refers to her own family history as she investigates her own place. In this work she juxtaposed an old family snapshot with her own photograph of oranges found in the village home of one of her relatives in Italy.
Sara Angelucci is currently Artist in Residence at the Art Gallery of Ontario, November 20, 2013 – January 20, 2014.
John Hall produced a series of paintings in 1980 referring, as was his practice, to photographs of his still-life assemblages. His objects were collected from around house and studio and especially on travels, including a small ceramic button placed in all the groupings that represented him.
We are pleased to announce new consignments in the gallery including the following;
Summer Exhibition News Review
Kim Adams is this year’s winner of The Iskowitz Prize. His winning exhibition at the AGO ended August 11, 2013,
For more information: http://www.ago.net/kim-adams-recent-works
Other artists recently exhibited at the AGO
Michael Snow; http://www.ago.net/michael-snow-objects-of-vision/
Nicole Collins; http://www.ago.net/toronto-now-nicole-collins
Paul Butler; http://www.ago.net/paul-butler-the-greg-curnoe-bicycle-project
Evan Penny; http://www.ago.net/evan-penny-re-figured
Ted Rettig; his carved stone work, Althea is part of the semi-permanent installation, Paradise, at the Art Gallery of Ontario, one of several important works acquired by the institution.
Sara Angelucci at the Art Gallery of York University, Toronto
Sara Angelucci’s solo exhibition, Provenance Unknown, curated by Emelie Chhangur for the Art Gallery of York University, ended a successful run, June 1
Review of the Angelucci exhibition by Sarah Milroy in the Globe and Mail;
For more information on other Angelucci exhibitions please see;
We are pleased to bring to your attention our new location and services. We are now open by appointment at 401 Richmond Street West, Studio S27. With the exception of our Studio number, our contact information remains the same:
401 Richmond Street West, Studio S27
For further information or to make an appointment to view work, please contact:
As well as our appraisal and related services, we are continuing to promote the work of major Canadian artists and will present on-line collections and the occasional pop-up gallery exhibition.
We also are continuing the represent the estates of Greg Curnoe and William Kurelek, and the work of Ted Rettig. Rettig has been with the gallery since 1974. 2014 marks his 40th anniversary with the gallery. We will be presenting an exhibition of his work to mark this occasion. More on that later.
We are pleased to also announce that several of our former gallery artists are now represented at the following galleries;
Gerald Ferguson at Olga Korper Gallery (exhibition opens March 2, 2013)
Janice Gurney at Birch Libralato Gallery
Colette Laliberté at Katzman Kamen Gallery, (exhibition opens March 8, 2013)
Monica Tap at MKG127
Carol Wainio at Paul Petro Gallery, (exhibition opens February 22, 2013)
Also Carol Wainio’s exhibition Old Masters opens at the Kitchener Waterloo Art Gallery, March 8 – April 28, 2013, Artist Talk and Opening Reception: Friday, March 8 at 7 PM with opening remarks at 8 PM.
Later this Spring we will introduce an expanded website that will present more fully our new direction and will also link to our existing archive of documentation and past exhibitions.
We are pleased to announce that we will present the gallery’s 45th Anniversary Exhibition, WTG_45 Years from September 22 to October 13, celebrating the many exceptional artists that we have had the pleasure to present and the historic buildings we have had the pleasure to inhabit, during that time.
After considerable thought we have decided it is time to move forward in a somewhat different direction. This will be the gallery’s final public exhibition at 401 Richmond.
We will be continuing as private dealers from a downsized space elsewhere in the 401 building, by appointment only, as well as on-line and presenting occasional special exhibitions and projects. We will also continue to provide insurance and cultural property appraisals, as well our resale service for selected works.
With well over 500 exhibitions presented, many collaborations with public galleries and artist run centres, international art fairs and other projects, and six spaces in historic buildings in the St. Lawrence Market and Spadina/ King areas, we have a multitude of amazing recollections.
As we proceed on to the next adventure we look forward to many more years of involvement in, and commitment to, the art communities that have been such an intrinsic part of our lives.
While there will be more news and details to come we would like to take the opportunity now to thank all of our loyal clients and other friends of the gallery for the many wonderful and exciting years during which we have experienced so much appreciation, good will and support. And especially, we would like to thank our artists, the enjoyment of whose work has provided the most truly enriching experience over the years.
We look forward to seeing you for the upcoming shows.
With best wishes,
Lynne and David