our 19th annual holiday exhibition
December 4 – December 19, 2015
Opening reception: Friday December 4, 7 – 11 pm
Paul Petro Contemporary Art
980 Queen St West
Toronto, ON M6J 1H1
This year’s tree by Jacqueline Treloar.
Stephen Andrews, Steven Beckly, Julie Beugin, Amy Bowles, Leigh Bridges, Churla Burla, Jane Buyers, Keith Cole, Dennis Day, Tom Dean, Maura Doyle, André Ethier, Gary Evans, FASTWURMS, Marie Finkelstein, Erella Ganon, Robert Flack, Sadko Hadzihasanovic, Anitra Hamilton, Andrew Harwood, Natalka Husar, Zachari Logan, Jiva MacKay, Olia Mishchenko, Janet Morton, Will Munro, Garry-Lewis James Osterberg, Shannon Partridge, Andrew James Paterson, Sandy Plotnikoff, Mélanie Rocan, Gretchen Sankey, Morley Shayuk, Cole Swanson, Ho Tam, Freddie Towe / FannaWanna, Carol Wainio
University of Guelph MFA Exhibition
Boarding House Gallery
6 Dublin St South
September 11 – 26, 2015
Opening reception: September 14, 7:30 – 9:30 pm
Simon M. Benedict
3 September – 26 September 2015
Studio Light in Two Parts
Art Metropole Window Display by Steven Beckly
Two chromogenic transparencies installed in the Art Metropole shop window
Brendan George Ko
September 11, 2015 – September 26, 2015
Opening: September 11, 6 – 8 p.m.
Gallery 44 Members’ Gallery
401 Richmond St W, Suite #120
Toronto, ON M5V 3A8
The notion of the artistic muse has been in existence as long as the arts themselves, since the nine daughters of Zeus were born, the personification of knowledge and the arts themselves throughout Greek mythology. As artists, our muses speak to us and through us, they can embody our work as much as our work embodies them. As photographers, we rely on our science to arrest them in time, to remember, as if there is some part of them they offer up to us in this fraction of a second, a small part we know we’ll be able to keep. Perhaps we’re hyper aware that they are as temporal as we, and we continue to produce, and hold onto our images, knowing they may survive a little longer – a legacy of friendship, love, or even obsession.
86 Miller Street
Toronto, ON M6N 2Z9
July 18 - August 8, 2015
Opening Reception: Saturday July 18, 2 – 5 p.m.
Steven Beckly, Patrick Cruz, Brandan Doty, Erika Dueck, John Haney, Maegan Harbridge, Minwoo Lee, Simon M. Benedict, Paul MacIntryre, Maegan Rose Mehler, Janine Miedzik, Jasmine Reimer, Ambera Wellmann
Auto Feeling evokes a split-motivation; automatic and involuntary, regular and repeated, mechanical and habituated it looks like breathing, sounds like hearts beating. Conversely and yet somehow equally, it is also a state of unconsciousness, an inability to forecast. Instead, to work under the condition of an Auto Feeling, is to investigate by Feeling. An immediate sense and sensibility, Auto Feeling is an intuitive understanding; fluid like a mood it is subject to fluctuation.
Evidenced by each work in this exhibition is openness towards intention and the desire, if not also ability, to surrender control within the ritual of making. It might appear as if the artwork is the result of endless meandering, adventure or even drunkenness. The works are often uniquely (and yet not un-pleasingly) imperfect—bent metal, dripped paint and crumpled duct tape make crooked effigies, streaked and erased, rude and rough edged, composed of fragmented and illogical objects whose immediate associations are uncertain. On the other hand, the artists paint with delicate, skilled strokes revealing figurative accuracy and sensual patterns, they form meticulous, gloriously laborious renderings, seamlessly conjoined collage, miniscule worlds and capture prosaic moments through elegant photography. Their inquisitiveness is not a display of artist heroics (to reinvent or set precedent) but more an indication of their dedication to experimentation and the refusal to become complacent.
A catalogue accompanying the exhibition with essays by Aaron Weldon and Jasmine Reimer will be available in the gallery for purchase by donation.
The force of what lives us outliving the mountain
Travaillant à partir de photographies anciennes dans lesquelles les relations apparaissent ambiguës, Steven Beckly interroge les normes culturelles qui entourent l’intimité et la proximité. Des images présentent des couples de même sexe posant pour la photo, situation qui amène les individus à se rapprocher, à s’étreindre ou à se tenir la main. Sont-ils frères, sœurs, cousins, amis, amoureux? Pour le savoir, il faudrait avoir accès à leur histoire. Par une série d’œuvres qui décortiquent l’anatomie des photographies et en isolent les éléments – images photographiques, textes manuscrits aux versos, cadres ornés -, l’artiste brouille les pistes qui permettraient de connaître la nature de la relation unissant les personnes représentées. Il ne reste alors que les indices de liens qui ont traversé le temps par la photographie.
VENDREDI 24 AVRIL 2015 À 17 H
25 AVRIL – 24 MAI 2015
DU MERCREDI AU DIMANCHE, 12 H à 17 H
ENTRÉE LIBRE, 550, CÔTE D’ABRAHAM, QUÉBEC
Under the passing stars
Steven Beckly & Nicole Kelly Westman
20 February – 19 April 2015
Opening reception: Friday 20 February 2015, 7 p.m.
The Maitland Terrace
Suite 100, 2085 Maitland Street
Halifax, Nova Scotia
Foregrounding the construction of identity and personal narrative, this exhibition pairs two artists whose works examine a subjective archive. Beckly’s photo-based installation weaves a commentary of love, intimacy, and friendship by re-presenting personal histories and relationships from a forgotten, yet familiar past. Westman’s Inherited Narratives presents various images and objects from an inherited archive. Through an audio tour, Westman draws attention to an alleged absence of authorship, all the while presenting constructed narratives derived from facts, embellishment, and fabrication.
Taking as the exhibition title a line from Yeat’s The Rose of the World, the artists position their works in the illusory space between the past and the present. Each in their way, the works revel in love, longing, and loss—or the fiction associated with each of these.
Atlas Sighed: The 2014 Calgary Biennial is a guerrilla exhibition of contemporary art. Comprising numerous infiltrations into public space, this endeavour appropriates commercial vernaculars of the urban landscape in order to challenge conservative status quos.
Working monumentally and secretly, the following artists will be taking over billboards, bus shelters, telephone poles, newspapers, alleyways, administrative offices, cellphones, and the sky itself to realize this project: Dick Averns, Brittney Bear Hat, Steven Beckly, Victoria Braun, Bogdan Cheta, Alannah Clamp, CONSULTANCY GROUP, the Ladies Invitational Deadbeat Society, Natalie Lauchlan, Yvonne Mullock and Mia Rushton, Sans façon, Dan Zimmerman, and others.
The Biennial will be dispersed throughout Calgary and its suburbs from December 1, 2014 through to March 31, 2015 with support from the Alberta Foundation for the Arts and anonymous sponsors. A number of conversations and public events will be held as part of this exhibition. Additional details will be released throughout the next few months.
The 2014 Calgary Biennial is curated and coordinated by Steven Cottingham.
Place: Framing the Oregon Landscape
Curated by Laura Valenti Jelen
Oregon Historical Society
1200 SW Park Avenue
Portland, OR 97205
November 8, 2014 – May 17, 2015
Bobby Abrahamson, Jody Ake, Steven Beckly, Susan Bein, Chris Bennett, Joseph Glasgow, Thomas Homolya, Christine Laptuta, Stu Levy, Raymond Meeks
Place: Framing the Oregon Landscape brings together an impressive collection of artists currently working to capture and interpret the landscape of Oregon through the medium of photography. The dramatic beauty of this region’s landscapes has inspired generations of artists, and these contemporary photographers carry forward the innately human aspiration to depict the relationship between their own existence and nature’s elegance. This exhibition will feature the stirring works of ten contemporary landscape photographers and draw from the Oregon Historical Society’s extensive collections to foster a contextual examination of the land, its people, and the artists’ negotiation of that duality.