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Lorna Mills and Sally McKay
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I have two shows opening on Thursday night this week. I will be at the show in Hamilton, but Rebecca Diederichs and Gordon Hicks will be at the show in Waterloo. I'm very happy about both of these touring shows and I hope everyone gets a chance to see them.
Quantal Strife
Scott Carruthers, Crystal Mowry, Marc Ngui
curated by Sally McKay
(organised by Ann MacDonald and Carol Podedworny)
Opens at McMaster Museum of Art in Hamilton on Thursday, September 13th, 6-8 pm
Details and directions: www.mcmaster.ca
Neutrinos They Are Very Small
Rebecca Diederichs, Gordon Hicks, Sally McKay
curated by Corinna Ghaznavi
(organised by Celeste Scopelites, Jan Allen and Andrew Hunter)
Opens at Render Gallery (University of Waterloo) on Thursday September 13th, 5-8 pm
(We will also have a Saturday afternoon closing event later in October with performance lecture and an all ages Art and Science Lab) Details and directions: www.artgallery.uwaterloo.ca
Here's an excerpt from Under the Bridge a recent piece by Oliver Laric, one of the masterminds behind VVORK, commissioned by the ICA and shown at Trafalgar Square, London on a 16 screen 360° panorama.
Curated by Ginny Kollak
David Diao, Dave Eppley, Lorna Mills, Tim Rollins and K.O.S., Rene Santos, Mika Tajima
At the Tang Museum, Saratoga Springs, New York.
(site of America's oldest racetrack, I'll have you know)
Bold yet shifty, stripes are a powerful pattern. Their marks are found everywhere— zipping through toothpaste and across running shoes, coating neckties, spinnakers, and zoot suits. Hovering somewhere between line and shape, stripes might signal a disturbance or coax order from disarray. They seem to move quickly but can command us to stop. They bring things into focus, making objects visible or prominent, but also camouflage what they cover, teasing the eye with their flickering forms.Official opening Sept. 8 and running to December 30, 2007
Stripes have long been a marker of transgression; people who operate outside the norms of society, like prisoners, clowns, or even artists, are often dressed in stripes. At the same time, stripes represent authority: generals mark their power in bars on a sleeve, while a thin striped beam at a railroad crossing stands for the impenetrability of a locked gate. Stripes of all sorts, from street barriers to beach umbrellas, are part of this potent iconographic legacy. As a visual language, they conjure a multitude of contradictory meanings and emotions.