Contemporary Toronto Artists: Artists U-Z

Catalogue of an exhibition held at the Mendel Art Gallery, 17 April to 31 May 1992; Agnes Etherington Art Centre, 29 November 1992 to 24 January 1993; Art Gallery of Windsor, 8 May to 3 July, 1993.

Catalgue of an exhibition at the Southern Alberta Art Gallery, January 19-March 3, 2002.

Catalogue of an exhibition held at the Oakville Galleries, November 18, 1995-January 19, 1996.

Catalogue of the exhibition "Colette Whiten: New Needleworks", held Jan. 17 - Mar. 1, 1992, at the Power Plant Art Gallery.

Catalogue of an exhibition held at the Agnes Etherington Art Centre, Queen's University, Kingston, Ontario from January 7 to January 28, 1973.

The Far Shore (1976), made under the direction of celebrated visual artist and experimental filmmaker Joyce Wieland, is one of Canada's most innovative contributions to cinema. The film borrows elements from the life of Canadian painter Tom Thomson, who is represented by the character of Tom McLeod. The main character, however, is not Tom, but the fictional creation of Eulalie de Chicoutimi, the married Québécoise woman who loves him. Using Eulalie's perspective, Wieland was able to re-frame Thomson's life and story as a romantic melodrama while infusing it with subversive commentary on gender, nature and nationalism, and ultimately, on the value of art. Here, Wieland specialist Johanne Sloan offers a fascinating new perspective on The Far Shore, making it more accessible by discussing Wieland's utopian fusion of art and politics, the importance of landscape within Canadian culture, and the on-going struggle over the meaning of the natural environment.

A look at the early aspirations and fears of a young woman who would become the renowned Canadian artist Joyce Wieland. A very fascinating personal story unfolds in a series of diaries, kalideiscopic streams-of-consciousness and sketches, of a self-developing individuality and of the philosophical literacy of one of Canada's great artistic innovators.

This intimate, rollicking, poignant biography uncovers Joyce Wieland's life as she lived it, intimately and fully -- through the 1950s "Dark Ages of Art" in Toronto, for much of the 1960s in New York's grungy artist's loft community and the underground film scene, and back to Toronto for the most productive, stunning years of her life.

"Joyce Wieland: Artist on Fire is an intimate biography of one of Canada's best-loved and most influential artists. Drawing on extensive interviews and over ten years of research, author Jane Lind captures Joyce's colourful personality and offbeat life in print. Lind reveals the turmoil of Joyce's childhood and teens, chronicles the wild jazz parties and gallery openings of the fifties and sixties, and discusses Joyce's long, troubled marriage to fellow artist Michael Snow. Her richly productive career is also fully described and considered, and more than 50 of her best works are reproduced in colour." -- From the publisher

"This examination of feminist underground filmmaker Joyce Wieland (1931-1998) pulls together the most important critical writings on her art and films. Includes a comprehensive annotated bibliography and a never-before-published interview between Wieland and experimental filmmaker Hollis Frampton." -- From the publisher

Catalogue of an exhibition held at the Agnes Etherington Art Centre, Queen's University, Kingston, Ontario from December 18, 1994 to March 26, 1995.

"Joyce Wieland has long been recognized for her large, varied and influential body of work...[This] exhibition and catalogue chart in detail Wieland's creativity and originality in diverse media. Her developing feminism and nationalism—perhaps most clearly exemplified in her quilts and her films—and her more recent exploration of spiritual and psychological themes reflect her continuing commitment to "seeing things whole" and to an art that is part of life." -- From the publisher

Artist's book/catalogue of an exhibition of Joyce Wieland's works held at the National Gallery of Canada, 1 July-8 August 1971.

In this political satire, a band of revolutionary American rats escape from their cat jailers and eventually make their way to Canada where they become organic farmers.

Catalogue of an exhibition held at the Power Plant Contemporary Art Gallery at Harbourfront Centre, Dec. 9, 2000-Mar. 4, 2001. Essay by Barry Schwabsky; exhibition curated by Marc Mayer.

"Monk examines the emblematic painting "Black and White", and introduces the various themes that characterize Wiitasalo's work of the 1980's; the questioning of traditional notions of representation, and the ambiguity and distortions of images and frame. The landscape motif of the 1986-87 paintings replaces the media-directed imagery of earlier works in gouache and oil, but continues the play between inside and outside, real and reflected image." -eARTEXTE

"This title is a thorough review of more than ten years of artistic practice from the compelling and playful Laurel Woodcock. This mid-career survey of interdisciplinary artworks by the Toronto-based artist forms a snapshot of her use, and purposeful misuse, of language and ideas. Woodcock's work effortlessly incorporates a broad range of media, from video to installation to fabrication, and involves the juxtaposition of meanings. Language is more than inspiration for the artist: it is raw material, awaiting manipulation and reinterpretation. Woodcock explores the ability of common language to become layered with multiple and unexpected meanings. Woodcock's sophisticated understanding of semantics is in full display with works like untitled (playlist for Bas Jan Ader), a carefully curated list of song titles refined down to a compelling syntax, and two love songs, an emotional play on words where one line of flashing text alternates between two titles that share the words without sharing the sentiment." - From the publisher.

"Publication documenting an exhibition of Woodcock’s mixed-media works (incorporating sound, text, sculpture and video) produced between 1997-2000. Allen’s essay focuses on the cinematic and televisual aspects of the artist’s “Lured” installation. Issues of spectatorship and viewer manipulation are discussed. Kelly offers a descriptive analysis of “Operetta,” a video installation that combines a magnified image of a fly with sound excerpts from Kubrick’s “2001: A Space Odyssey.” Includes a CD with visual and sound components from “Lured I” and “Lured II.”" -eARTEXTE

"How would you interpret that hammy, Lynchian dream about your ex? Has your house plant been judging you this entire time? Will you bother grappling with the ethics of your woke, but Machiavellian workplace-related revenge? Does anyone care if you don't make it out to the party? How do you go forward when everything's moving backwards? Town hall's in session, and we've got lots to talk about. Eric Kostiuk Williams returns with a new, full-color short story collection that will replenish your crops, singe your eyebrows, and lightly tickle the back of your knees." --From the publisher.

"Towers of steel and glass are decimating Toronto's neighbourhoods; replacing communities with condos. Can the city's primary purveyors of socially motivated revenge and personal guidance, Komio and The Willendorf Braid, save the city from condo hell, or are they too late to save this Hogtown from the twisted CEO?" -- From the publisher.

'Like all my favourite art, these paintings bring out that covetous feeling - I want to wear them, dance to them, show them off as an example of how life feels to me: dirty, dumb, terrifying, spiritual and so funny.' - Miranda July 'In a time of ironic detachment, Margaux Williamson is a painter of extreme candour, but the violence of her vision is cut with wonder and love. Sometimes she recalls Philip Guston, sometimes she's like a Pittsburgh-born Van Gogh; usually she reminds me of nobody at all. Seeing as she sees feels like waking up.' - Ben Lerner In a world where the image of a painting on a computer screen can be as real as a painting hanging in a gallery, I Could See Everything, the breakthrough body of work by acclaimed painter, filmmaker and social artist Margaux Williamson, appears here both as a strange vision and one that feels so familiar and inevitable. This suite of forty-sixpaintings, selected and curated by the Road at the Top of the World Museum for their tenth anniversary, shares the gallery's preoccupation with, as curator Ann Marie PeÃf±a says, darkness as both geographical condition and conceptual idea. In collecting all forty-six works alongside essays by David Balzer, Mark Greif, Chris Kraus and Leanne Shapton and an introduction by the curator, this catalogue transcends the boundary between the authentic and the imaginary, and collapsesthe distinction between art show, museum catalogue and document of something astonishing that also never was.

Each of the three parts of this video consists of a shot for shot re-creation of a famous scene from a Hollywood film. Included are: "Mission"; "December 31, 2000"; and "Next to Last Tango".

This shot for shot recreation of the opening scene of Francis Ford Coppola's film Apocalypse Now calls into question the process of gender identification.

The filmmaker revisits family members and questions the personal implications of Arab/Jewish politics and culture.

"Daniel Young and Christian Giroux have been making art together for nearly ten years. Their sculpture, public art and film installations are the product of an ongoing conversation concerning mid-century modernity, and the production of space and the built environment. This first in-depth monograph provides a career overview as well as an exploration of the duo's latest and most emblematic project, Beta Boole - sculptures involving Ikea furniture. The term Boole comes from the 3D computer modeling operation of adding and subtracting simple forms to generate more complex ones. These pieces of furniture provide both a recognizable and vernacular set of domestic forms, which perversely realize the Modernist goal of universal design through the machinations of globalization. Brancusi, Gordon Matta-Clark, and the Japanese architectural office SANAA are among their critical influences." -- From the publisher.

A photographic exhibit at the Market Gallery, March 13-July 11, 1999.