Contemporary Toronto Artists: Artists M-P

"In this his newest book, Peter MacCallum has assembled collections of his documentary photographs of the last decade that examine the particularities of the vernacular spaces of human labour, commerce, and habitation. Conceived as series, these documentary photographs juxtapose the miscellany of the commercial architecture of Toronto's Yonge Street with the uniform elegance of rue du Faubourg Saint-Denis in Paris; an aging zinc foundry in Montreal with a venerable independent garage in Toronto; the functional Theatre Passe Muraille in Toronto with the tiny, lushly decorated Théâtre du Tambour Royal in Paris." -- From the publisher.

Material World is the first monograph by the celebrated photographer Peter MacCallum. MacCallum’s objective documentary style avoids obvious commentary, allowing the material presence of the subject matter to emerge. The series of photographs represented here tell a story of commerce, labour and the economic relationship of cities to their industrial hinterlands.

Catalogue of an interview with Peter MacCallum by Linda Genereux.

Catalogue of an exhibition held at the Art Gallery of Greater Victoria, April 27 to May 22, 1977.

"Art, love, and mortality explored through the lives and work of artists Spring Hurlbut and Arnaud Maggs. Arnaud Maggs, turning 85, embarks on a series of self- portraits that wryly depict his life's work. Spring Hurlbut, at 60 is creating haunting works that evoke mortality while harboring the certainty that Arnaud's time is limited. Together and alone, each grapples with the nature of an artist's creativity where the drive for invention and discovery resists life's finite reality. The film immerses the viewer in a world where art and life are indivisible and where the couple's devotion to each other is matched only by their dedication to their own work." --Site Media Inc. website.

Catalogue of an exhibition held at the Robert McLaughlin Gallery, Oshawa, Jan. 19-March 26, 2006; the McMaster Museum of Art, Hamilton, Nov. 23, 2006-Jan. 21, 2007; Gallery One One One, Winnipeg, Nov. 22, 2007-Jan. 11, 2008; and the Musée d'art contemporain de Montréal, Feb. 8-April 28, 2008.

Documentary about Canadian artist and photographer Arnaud Maggs.

Catalogue of an exhibition held at the Power Plant Contemporary Art Gallery at Harbourfront Centre, Apr. 17-June 6, 1999.

Catalogue of an exhibition held at Art Metropole/Presentation House Gallery.

Catalogue of an exhibition held at The Nickle Arts Museum, 14 September to 4 November 1984; Art Gallery of Hamilton, 9 January to 9 February 1986; The Winnipeg Art Gallery, 3 May to 15 June 1986; The Edmonton Art Gallery. Essay: Karyn Elizabeth Allen.

"Manner's book contains portions of text in Latin, as well as numerous series of photographs (some are computer-generated) of geometrical patterns and technological instruments." -eARTEXTE

"Blazing Figures chronicles Markle's boyhood in Hamilton, Ontario, his early exposure to the worlds of burlesque and jazz, and, following his expulsion from the Ontario College of Art, his immersion in the Toronto world of painting and music. It recounts his emergence as a controversial expressionist painter of the figure and a beloved teacher of his craft. After his abandonment of urban life for small-town Ontario, Markle, in the last twenty years of his life, produced his greatest works and formed close friendships with his fellow painters and with public figures Patrick Watson and Gordon Lightfoot, both of whom were interviewed at length for this book." - From the publisher.

Catalogue of an exhibition held at Thunder Bay Art Gallery, 1989. Foreword: Sharon Godwin, Director. Essay: Carol Podedworny, Guest Curator.

An examination of the life of Canadian painter Robert Markle, who drew inspiration from the nightlife of strip bars and exotic dancers as well as the iconography of indigenous peoples.

"This publication of the Toronto-based duo is the most complete career overview to date. Featured are their signature sculptural and kinetic installations along with several smaller works that together form an experimental journey around the artists' ideas on modernist art. In particular, cool geometric minimalism is used as part of a strategy of critique within the context of the information age. References to Wikileaks, Google, electronic surveillance, and information suppression are disimilated within works marked by bright colors, enchanting movements, and humour. It is possible to see this collaborative work as both a playful encounter and a relevant critique of the supposed utopia of total information access." -- From the publisher

"Project for a New American Century is a “what if” scenario that in part has its source in a little-known historical event. During the Spanish Civil War, anti-Franco anarchists operated prisons using “psychotechnic” torture in the form of “coloured cells” based on the principles of abstract and surrealist painting. In reference to this history, the Toronto collaborative team of Jennifer Marman and Daniel Borins created an installation at the Art Gallery of York University combining architecture, painting, and sculpture, building a monolithic prison-like enclosure but updating it with reference to utopian brutalist architecture from the 1950s and 1960s and op art painting." -- From the publisher

"Ironic to Iconic: The Performance Works of Tanya Mars is a comprehensive look at the career of Canadian performance art legend, Tanya Mars, from the early 1970s to the present...This anthology offers a comprehensive look at her early career as well as her many recent major works and successes, including extensive photo documentation in a 32 full colour page break, and a DVD featuring video documentation of her durational 7-hour site-specific performance work produced by FADO in Toronto in 2004, Tyranny of Bliss." -- From the publisher

Catalogue of an exhibition held at the Power Plant, Toronto, Sept. 21-Nov. 11, 1990.

Illustrates that the relationship of women to power has not significantly changed since the 16th century. Images of an aging Queen Elizabeth I discussing virginity, love and deception are contrasted with images of popular culture. Adapted with the assistance of Colin Campbell from a performance of the same name which was first presented in the spring of 1984.

Catalogue of an exhibition held at Bailey Fine Arts, Toronto Ontario Oct. 9 - Nov. 13, 2004.

Published in conjunction with an exhibition organized by the Canadian Museum of Contemporary Photography and presented in Ottawa from 8 May to 6 September 2004.

Catalogue of an exhibition held at the Olga Korper Gallery, Toronto, Jan. 30-Feb. 24, 1999.

Catalogue of an exhibition held May 6-31, 2000 at the Olga Korper Gallery, Toronto.

Catalogue of an exhibition held at the Art Gallery of Hamilton, February 12 to April 24, 1994. Essays: Peggy Gale, Ihor Holubizky.

Catalogue of an exhibition, Deliverance and hope : the significance of Marconi in the sculpture of John McEwen, held at the Winnipeg Art Gallery, Feb. 3-May 6, 2007.

"In an extensive essay, Ferguson discusses the theoretical concerns and circumstances surrounding six public commissions executed by McEwen between 1981 and 1989. A public works portfolio and glossary provide documentation of both completed and unrealized projects." -eARTEXTE

Catalogue of an exhibition held during 1983 at Yorkshire Sculpture Park; Canada House Cultural Centre Gallery, 8 June to 12 July; Institute of Contemporary Arts, 1 July to 14 August. Essay: Peter Murray, Director, Yorkshire Sculpture Park.

Catalogue of an exhibition held at the Southern Alberta Art Gallery, September 2 to 30, 1979. Essay: Ian Carr-Harris. Curator: Alan Mckay.

Collaborative book project produced by the Walter Phillips Gallery, 1993.

Catalogue to an exhibition of works by Sandra Meigs, held at the Power Plant, Toronto, Sept. 21-Nov. 11, 1990.

"Ravine World is a portfolio containing eight panels comprising a reproduction of a new drawing that continues the artist’s investigation and documentation of ravines. These interlinked reproductions have been printed in black ink utilizing plate offset lithography on uncoated, acid-free, true white, archival book paper. These prints encourage the viewer to unfold, compose and contemplate an expansive vision of these intriguing spaces between the urban and the wild. The bookwork contains a text by architectural historian and curator/critic of contemporary art, Kenneth Hayes. Mishchenko collaborated with graphic designer Rob Gray of DesignWorks Studios on the production of the book." -- From the publisher.

"Neither a teddy bear's picnic, nor a pack of ferocious beasts, Allyson Mitchell's newest installation presents an epic gathering of figures, each one a monumental symbol of female brains, brawn and sexuality - a community of Lady Sasquatches. The freestanding, sculptural works by Toronto-based Mitchell marry feminist theory with the artist's favorite material, fun fur. In a new twist on the legend of the Sasquatch, a wild hairy creature consistently described as solitary and male, Mitchell has assembled a congregation of anatomically correct females. Standing upright at over 10 feet tall, they are beautifully crafted creations of fun fur, taxidermy glass eyes and various fake bear parts" -- Pub. website.

An exhibition of Allyson Mitchell's sculptural installations held at Union Gallery, Queen's University Sept 9-Oct 17, 2008.

"In the guise of diva Miss Chief Eagle Testikle, Kenneth Monkman takes camp aesthetics to new extremes of political disturbance. Setting queer against straight, and both these against his dual identity as a Canadian of Cree descent, Monkman aka Miss Chief revisits the way key events in North American history have been represented. Recent performances and installations featured outlandish versions of objects like "Indian" moccasins in museum displays, videos with tragicomic takes on "Indians'" as the "other" to colonists, and Monkman's own extraordinary paintings. Based on masterpieces of landscape and history art, these expose the repressions and fantasies grounding narratives of the "winning of the West." -- From the publisher

Cree artist Kent Monkman sweeps through art history, creating a disrupted narrative of the clash between Europeans and First Nations. His revisionist history paintings take their cue from 19th century romanticized landscapes of mid-west America. The performances transform gallery spaces into multi-media Tipi camp extravaganzas. Abundantly illustrated with five original essays.

A short fictional drama about a violent crime that affects an aboriginal family.

Will Munro (1975-2010) was a multimedia visual artist, DJ and community builder based in Toronto. History, Glamour, Magic fully documents his activities as an artist with emphasis on his punk DIY sculpture and installation from 1998 to the end of his life.

"Will Munro was a legendary artist, DJ, activist and impresario, as renowned for his transgressive, irreverent art as he was for reinventing Toronto's nightlife culture. His installations and prints co-opted rock 'n' roll imagery and raunchy gay iconography — you couldn't look at men's underwear the same way after a Munro show — and his outre Vazaleen dance parties brought to the city's stages some of the most notorious performers of the last forty years: Nina Hagen, Jayne County and Vaginal Davis, among them. When Munro died of brain cancer in 2010, at the unfathomably young age of thirty-five, Toronto was robbed of one of its most significant civic heroes." -- From the publisher

Catalogue of an exhibition held at the Art Gallery of Ontario, Sept. 25, 2004-Jan. 2, 2005.

Catalogue of an exhibition held at the Robert McLaughlin Gallery, Oshawa, Nov. 1, 2001-Jan. 6, 2002 and 4 other Canadian venues through March 2003. Catalogue essays by Ihor Holubizky, Walter Klepac and Christopher Cutts.

Essays by Bryce Kanbara and Gary Michael Dault. A catalogue from an exhibition held April 21 to June 30, 2001, at the Gendai Gallery of the Japanese Canadian Cultural Centre, Toronto, Ontario.

Catalogue of an exhibition held at The Robert McLaughlin Gallery, April 2 to 28, 1974; Musee d'art contemporain, June 27 to July 29, 1974; London Public Library & Art Museum, September 6 to 30, 1974; Mount Saint Vincent University Art Gallery, October 18 to November 17, 1974; Rodman Hall Arts Centre, December 6, 1974 to January 5, 1975; Agnes Etherington Art Centre, February 9 to March 9, 1975. Foreword: Kay Woods.

Imagery set to a Yiddish poem retraces transgender identity through a narrative of lost clothes, lost bodies, and a lost identity.

A cloned boyband co-opts an Elizabethan madrigal to express its heartbreak over lost love.

Surveillance cameras become the audience for a choral rendition of a 1980's pop ballad.

Catalog of an exhibition held at the Ryerson Image Centre, Toronto, April 27 - August 5, 2018, published on the occasion of the awarding of the 2017 Scotiabank Photography Award to Shelley Niro. Exhibition curated by Gaëlle Morel.

Published in conjunction with the exhibition at Urban Shaman Gallery, August 2-September 15, 2007 and Cambridge Galleries Queen's Square, March 29-May 4, 2008.

A series of short films features artists, actors, musicians, and dancers from the Six Nations Reserve.

Catalogue of an exhibition held at the Mackenzie Art Gallery, Regina,March 29-June 2, 2003.

Investigates the authenticity, cultural identity and articulation of modern Native American experience in cinematic language and pop culture. VHS format.

Catalogue of an exhibition held at Agnes Etherington Art Center, Queen's University, Kingston, Ontario from May 5 to June 16, 1996 and at the Thunder Bay Art Gallery, Thunder Bay, Ontario from July 5 to August 11, 1996

Catalogue of an exhibition held at Mercer Union from June 25 to July 25, 1992. Includes excerpts of an interview of Shelley Niro by Carol Podedworny, selected exhibitions and a selected bibliography.

"Compilation Portraits represents a selection of photographic works by Louise Noguchi, which challenges the viewer to reassess the concept of social, cultural and biological boundaries." - From the publisher

"Catalogue to accompany an exhibition to be held at the Power Plant, Toronto, 10 March - 23 April, 1989."

Catalogue of an exhibition held at the Southern Alberta Art Gallery, Lethbridge, Alberta from October 20 to November 28, 1990.

Three short films about relationships and sexual encounters; the first concerns two lesbian women, the next two gay men, and the third is heterosexual.

"While curator Wylie analyses 32 prints created at the Open Studio between 1986 and 1990, Genereux addresses the emergence of the "multiple" as an individual work of art and recounts cases of "artist's resistance to the standard procedures of printmaking." Through a detailed discussion of the Open Studio Archive, Stacey investigates the centre's "raison d'être"." -eARTEXTE

"Defining Open Studio as a "professional production situation" for printmakers, the authors outline its history and aims and situate it within the history of printmaking in Europe, the United States, and Canada. Includes definitions of printmaking terms and processes." -eARTEXTE

Catalogue of an exhibition held at the Gairloch Gallary, Oakville Galleries, Jan. 7-Feb. 19, 1995.

Catalogue of an exhibition held at Artists Space, November 5 to December 3, 1983. Acknowledgements: Linda Shearer, Executive Director. Essay: Tim Guest, Curator, Art Metropole.

Catalogue of an exhibition held at Artists Space, New York, U.S. from November 5 to December 3, 1983.

"Canadian artist Evan Penny (born 1953) makes the kind of sculpture that is so realistic, so detailed and so plainly a demonstration of virtuoso ability that it can literally stop people in their tracks. Modeled with tremendous craftsmanship in aluminium, silicone, epoxy resin and pigments, his freestanding nude figures and portrait heads invite the viewer to examine every fleshy imperfection and intimate crevice. The twist in this extreme realism is their anamorphically skewed perspective, so that what appears to be a conventionally dimensioned figure from one angle turns out to be wildly distorted from another. Penny uses electronic image editing and 3D scanning to create these effects, which transform an initial experience of ultra-realism into a vertiginous encounter massively mediated by artifice and technology. This volume surveys Penny's sculptural works of the past three decades." -- From the publisher.

Catalogue of an exhibition held at Museum London, Dec. 20, 2003-Mar. 14, 2004 and travelling to other galleries.

Catalogue of an exhibition appearing at the Galeria Fernando Latorre in Barcelona, Spain, from March to April 1999.

"This catalogue celebrates the formidable accomplishments of this Yugoslavia-born, Toronto-based artist. The pieces selected for the exhibition comprise a wide spectrum of physical media and formats, from painting, drawing, sculpture and installation, to video and performance."- Forward

Catalogue published in conjunction with the following exhibitions: (W)hole, XII Internation Biennial of V.N. de Cerveira, Portugal, Aug. 16th - Sept. 21st, 2003; House of Exile, Second Tirana Biennial, Tirana, Albania, Sept. 12th - Oct 20th, 2003; Crossing, 8th Havana Biennial, Havana Cuba, Nov. 1st-Dec. 15th, 2003; Cradle, Art Gallery of Kitchener-Waterloo, Ontario, Canada, May 9th-June 27th, 2004; Crossings, Lonsdale Gallery, Toronto, Canada, April 1st-April 25th, 2004.

"The work of Ed Pien surrounds us and compels our engagement with images that seem born of dreams, both of personal and of cultural sources and traditions of Chinese and European. The effect resembles dreams wherein the experiences can be fearful and insightful in combinations capable of particular and universal significance together. In a Realm of Others brings us into a place of open inquiry into fear and the experience of vulnerability that rises from an acute sense of otherness. He has created a new mythology that invites wonder along with new ways of understanding "others", even as their meanings remain elusive and somewhat beyond us." - From the publisher

Catalogue of an exhibition held at Centre culturel canadien, Paris, December 19, 2001 - February 23, 2002.

"Ed Pien's drawings are immensely engaging because they are nourished by rich cultural traditions and because they literally pull the viewer in. References to Chinese and Italian manuscripts are striking and Pien's concern with life, death and life after death register an acute cultural hybridity. In the West we are most familiar with Dante's Inferno but the depiction of suffering and of the desire for ascendancy of the spirit is equally prevalent in Chinese Buddhist art. Pien's creations, with their circularity and repetition are at once ceremonial and playful and themselves hang between Eastern and Western traditions." - ABC Art Books Canada

Catalog of an exhibition held at the Charles H. Scott Gallery, Vancouver in 2000.

"Invisible Sightings (Taiwan) are drawings Pien made during his four-month stay in Taiwan while researching into representations and concepts of ghosts. The collection of over 300 drawings reflects directly how he experienced and responded, upon his return to Taiwan for the first time since immigrating to Canada 28 years ago at the age of eleven. Experiencing Taiwan as an "outsider," the artist attempted to capture in image form, the "exotic" cultures of that country." - edpien.com