Jimmy Limit: Surplus @ Clint Roenisch Gallery

‘Surplus’ by Jimmy Limit opened with a bang last night at the Clint Roenisch Gallery as part of Toronto’s Contact Photography Festival. Limit’s installations are compositions intended to be photographed including items like coins for scale, perfect 2×3 framing ratios with sizing and colour cards in place. The installations are presented alongside photos of the installations in a meta look at the art of photography. The show is up throughout the duration of Contact. Be sure to pass by and take a look. x

NUDE: Object vs. Subject

Photo: D. Gillespie

Photo: D. Gillespie

Join me at The Museum this weekend for my talk on the female nude and its place in the public spaces of art, advertising, and porn. The talk is part of the Naked Dialogues in conjunction with ‘Getting Naked,’ a new exhibit of previously unseen Canadian nudes. More info at THEMUSEUM and on Facebook.

Eli Langer & Jennifer Murphy: Caravansary of Joy @ Clint Roenisch Gallery

Caravansary of Joy by artists Eli Langer & Jennifer Murphy opened last night at the Clint Roenisch Gallery. With the Spring equinox in full swing alongside a solar eclipse and a waxing supermoon on the rise the vibe was ripe for an incredible night. And that it was. Just take a peek at all the beautiful people filling the space in the photos above. I always remember why I love Toronto at Clint’s openings. Even local recording artist superstar Majid Jordan came out to play! xo

Niall McClelland: Hot Sauce @ Clint Roenisch Gallery

Niall McClelland’s new show “Hot Sauce” opened last night at the Clint Roenisch Gallery. The usual crowd of Toronto’s most stylish, artsy, quirky and endearing were in attendance taking in the art and warming up by the new, quintessentially Canadian fire pit situated out front of the space on St. Helens Ave. Niall’s work was beat up and free in essence. Here’s a note from Niall himself on his style taken from his recent interview with Mark Hall-Patch for 01Magazine:

A lot of artists envy the freedom that you put into theses works, some of them being dragged over land and destroyed but almost in a loving way.

Ha, I look at it more like punishment than freedom! Yeah I mean I don’t throw things around that easily either. A while back I came across Wabi Sabi, you know that Japanese idea of embracing transience and imperfection? Just the idea of the age and the experience and the life that these objects have is valuable. The more life they have the more important and valuable they are. If they have been dented up and nicked and paint is chipped, that’s desirable in Wabi Sabi. I saw that and I thought it was so lined up with how I see things, it totally distilled these vagues thoughts I had about what I was making. It’s something that has been done for centuries and it’s how I think about things too. I like everything around me to be worn, including art . I like it when a drawing has been beat up and kicked around. I like the holes in the corners after they have been displayed multiple times, the stained areas where something has been water damaged, I think that’s interesting. – Niall McClelland

Best of Art Basel Miami 2014: Sculpture

Paul McCarthy, 'White Snow, Bambi (Working Title),' 2013

Paul McCarthy, ‘White Snow, Bambi (Working Title),’ 2013

Elmgreen & Dragset, 'The Experiment,' 2012

Elmgreen & Dragset, ‘The Experiment,’ 2012

Lothar Hempal, 'Fool's Rock,' 2010

Lothar Hempal, ‘Fool’s Rock,’ 2010

Urs Fischer, 'Small Rain,' 2013

Urs Fischer, ‘Small Rain,’ 2013

Pae White

Pae White

Art Basel 2014-19

Francesco Vezzoli, ‘TRUE COLORS (A Roman Head of Eros, circa 1st Century A.D.),’ 2014


Damien Hirst, 'Istanbul,' 2014

Damien Hirst, ‘Istanbul,’ 2014

Art Basel 2014-14

Sherrie Levine, 'Alligator,' 2014

Sherrie Levine, ‘Alligator,’ 2014

Andro Wekua, 'Untitled,' 2014

Andro Wekua, ‘Untitled,’ 2014

Juan Genoves, 'Expectacion,' 2014

Juan Genoves, ‘Expectacion,’ 2014

Christian Marclay, 'Skin Mix II,' 1990

Christian Marclay, ‘Skin Mix II,’ 1990

Damien Hirst, 'Schizophrenogenesis,' 2014 (detail)  $20,2000

Damien Hirst, ‘Schizophrenogenesis,’ 2014 (detail)

Jason de Haan: Free and Easy Wanderer @ Clint Roenisch Gallery

Clint Roenisch executed another stellar opening last night, his second at the new space, featuring a collection by Canadian multi-disciplinary artist Jason de Haan. The space was vibrant as Toronto’s art scene elite interacted with Jason’s provocative works. The live tree dusting the ceiling wearing a gold ring on its top branch had people’s necks craned in wonder as did a chunk of million + year-old meteorite carved into a pointer finger stuck in the front wall. There was a mouldy old found sneaker atop a marble stand and a series of designer humidifiers with tortoise shell fossils and other terra matter placed upon them. The front room was decorated with a series of upside-down photographs of Jason reading ‘Moby Dick’ against horizons around the world. The show as a whole left me wondering about the relationship between natural and manmade things and how this can be more a beautiful, delicate and symbiotic harmony than we ever imagined. Well done gents. xo

Clint Roenisch (new) Gallery Opening.

Last night, under a waxing moon, Toronto’s favourite gallery owner, Clint Roenisch, opened the doors to his much anticipated new space at 190 Saint Helens Ave at Bloor and Landsdowne. The new gallery is elegantly minimal with starkly white walls, high ceilings, and concrete floors. It filled up with the entirety of Toronto’s art scene last night which made it the best-dressed and best-looking crowd I’ve ever laid eyes on. The vibe was one of excitement as champagne got popped, motorcycles peeled out, babes on babes on babes and the art was revered. Minimal post-postmodern pieces were shown by artists Stefan Bruggemann, Aleksander Hardashnakov, Johnathan Monk, Gabriel Orozco, David Shrigley and Gedi Sibony. Be sure to pop by the new space and say “hi.” And share this link with your pals if they’re pictured here. xo #firstthepleasue