Fire and Dust at the Scotiabank CONTACT Photography Festival at United Contemporary, Toronto

by Emese Krunák-Hajagos

Browsing through Scotiabank CONTACT Photography Festival’s website Fire and Dust caught my eye at first glance. What strange pictures! Ryan Van Der Hout’s dark, monochromatic photographs create an inescapable mood of death and sadness, but having Amanda Arcuri’s colorful pieces displayed with them gives hope—at least for a short time, until we see what it’s all about. Fire and death – again. After looking at the whole exhibit it is hard to decide whose photographs are more disturbing.

Burke Paterson, Director of United Contemporary curated this show and pinpointed its connection to our current situation with COVID, as a period of great upheaval. He starts the gallery’s introduction to the exhibition with a question, “What happens to the artifacts of the civilized world when they no longer serve a purpose? Are they burned to the ground or left to collect dust?” This question goes back centuries and is not an easy one to answer. However, in their exhibition, Arcuri and Van Der Hout give a “unique yet complementary interpretation of destruction as a form of creation”.

Installation view of Fire and Dust at United Contemporary, 2021
Installation view of Fire and Dust at United Contemporary, 2021
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LandX

by D. Dominick Lombardi

It is commonly thought that in Western Art, the interest in representing the landscape as part of a paintings composition cropped up during the time of the Renaissance. From the beginning, representations of the landscape have brought the viewer to virtually experience new places throughout time, offering a sense of discovery, a feeling of hope for a better more peaceful world. More recently, a truer understanding of the force and fragility of nature has come to the fore motivated by politics, profit and pleasure. For this exhibition, I have selected paintings, sculptures, archival pigment prints, ceramics, dioramas and collages that offer a variety of contemporary views regarding the state of the genre.

Inness Hancock, Into the Falls, 2016, oil on canvas, 60” x 48”
Inness Hancock, Into the Falls, 2016, oil on canvas, 60” x 48”
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dArtles: Weekly on the Arts

by Steve Rockwell

Weekly on the Arts hosts Irina De Vilhina and Kyle Shields at Pie in the Sky Studios
Weekly on the Arts hosts Irina De Vilhena and Kyle Shields at Pie in the Sky Studios

In Toronto’s cultural kitchen, a dish named Weekly on the Arts has begun to bubble. Hosts for this upcoming weekly TV show are Irina De Vilhena and Kyle Shields. Featured segments cover visual artists, collectors, curators, museum directors, art magazines, auction houses, art galleries and art dealers. Shooting began this spring at Pie in the Sky Studios, with rushes from the first batch of digital reels already in post production.  

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Mortality: A Survey of Contemporary Death Art

by Steve Rockwell

Lynn Stern, Spectator #14-94a, 2014–2015. Archival inkjet pigment print, 32 x 43 in. Ed. 1/6. Courtesy of the artist.

Mortality: A Survey of Contemporary Death Art was to have opened spring 2020 in Washington, D.C. The intended exhibition venue was Katzen Art Center’s American University Museum. Its cancellation is a familiar, shopworn story over a grim span of time when it comes to public events of any kind. To say that it was a disappointment doesn’t quite cover it. When considering the energies, hopes, and labors expended by so many people over a considerable time, something vital within the its participants was cut off. In its reaping, the fruition of it produced an unfortunate synchronicity with Mortality, the exhibition theme.

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