Long concerned with the physical nature of color, the coupling of Sims’ ceramics and paintings in the exhibition reveals his latest explorations in this line of inquiry. Best known for his monochromatic paintings, Sims has also been involved in ceramics for many years. Sims crafted the ceramic works in the exhibition using a wood fired anagama kiln of ancient Japanese design, using his glazes as an integral part of the sculpting act. Like the complex surfaces of his paintings, Sims combines his pitted, crazed and highly textured clay forms with richly hued glazes to a sublimely poetic effect.
Sims’ paintings display the same consideration of material properties found in his three dimensional works. Formed through the accumulation of numerous thin layers of color stained directly into raw linen, the finished surfaces of Sims’ paintings radiate the subtle nuance of perceptual color, yielding a deeply emotional and rewarding visual experience.
Phil Sims: COLOR / exploration in painting and ceramics Exhibition Dates: November 3 – December 22, 2018 Reception for the artist: Saturday, November 3, 2018 from 4pm – 6pm; Artist talk: 4:30pm
Movements in art have come and gone over the past five-hundred years, yet the genre of still life has remained ever-present. Based in a rich tradition which emphasizes adept artistry and perceptual acumen, the success of the still life relies on the ability of the artist to faithfully re-present his subject while at the same time create an artwork that reveals more than simply the objects depicted. This selection of painters build upon this history, creating hauntingly realistic tributes to truth, beauty, and the sublimity of the human experience.
Still lifes are more than solely works of beauty; historically the genre has always reflected the contemporary values of its society. This exhibition highlights this introspection, with each artist creating specific, yet timeless, tributes to the world we live in. The paintings are self-reflective, combining traditional ideas of vanitas with contemporary concerns—revealing that life, objects, and even the artworks themselves are transient. These concepts emerge in De Biasio’s lush oils of ripened fruits paired with artifacts of man-made detritus, which serve to anchor them firmly in the current day. Beck’s objects have had lives, not only hinting at the untold stories of their past, but also making space for themselves in our collective sentimental psyche, creating underpinnings of social and political themes in his version of deteriorating nostalgia. Conor Walton’s “bread and butter” paintings also examine the vanitas tradition while his more allegorical compositions hint at ecologic and economic attitudes. Ottorino De Lucchi’s exquisite dry brush watercolors as well as Bo Markenholm’s and James Hollinsgworth’s faultless oils, explore ideas of abundance and the pristine through a contrasting minimalistic model.
The success of these works comes from the artists’ ability to truly observe—to see their subjects not simply as moments in time, but as symbols for something beyond the ordinary. Still life continues to be an essential, and ever-evolving genre. This is attributable to the ambitious and forward-thinking works presented in this exhibition. Through their keen observation and impeccable skill, these six artists are progressing the genre, and painting as a media, into the future.
Object Permanence: Contemporary Still Life Painting Exhibition Dates: Through October 31, 2018 Opening Reception: Saturday, October 13, 2018 from 6pm – 9pm
At first glance, the brilliant abstract landscapes of Kate Shaw possess a sublime, yet ephemeral quality. Mountains formed by pools of acrylic paint deliquesce into a reflective basin, creating a mirroring effect of the terrain above. Her use of paints with vivid hues and iridescent qualities prove the landscapes to have an attractive and idealistic quality.
Yet, there is an artificiality that leads to a deeper, almost haunting underlying message of environmental toxicity. Much like the natural beauty of this earth, marked by polluted skies that create beautiful pink sunsets, the rainbow iridescence cast on the surface of an oil spill, or a radioactive glow. Speaking to the dichotomy of the natural world, beauty and decay. The celestial landscape, under this context, morphs into a hidden miasmatic environment.
For this body of work, Kate Shaw has delves deeper into the physicality of darkness through the incorporation of phosphorescent paint, lenticular lightbox prints, and video projection.
Kate Shaw is an award-winning Australian artist who spends her time working and living between Melbourne, London, Hong Kong and the US
Kate Shaw: Shadowlands Exhibition Dates: October 12 – November 3, 2018 Opening: Friday October 12, 2018 from 7pm – 10pm
Five years in the making, Anthropocene presents powerful and poignant works by Burtynsky mapping the impact of human intervention on planet Earth. Anthropocene will be exhibited concurrent to the release of the artist’s sixth Steidl monograph of the same title, and his film documentary collaboration with filmmakers Jennifer Baichwal and Nicholas de Pencier; in conjunction with two museum exhibitions, one at the Art Gallery of Ontario and the other at the Canadian Photography Institute of the National Gallery of Canada.
For thirty-five years, Edward Burtynsky’s diverse photographic projects have led him around the world, investigating the complex intersection of industrial growth and environmental consciousness. Burtynsky’s previous subjects range from the repetitious patterns of orderly uniformed factory employees, extending to urban renewal centers, housing projects, recycling yards, rock quarries, to the haunting skeletons of decommissioned shipping vessels and containers.
The title of Burtynsky’s newest body of work, Anthropocene, refers to a proposal circulating in the scientific community to formally recognize the commencement of a new geological epoch, the Anthropocene, or “Human Epoch”. This transition — a controversial idea currently under vigorous and passionate international debate — would represent a formal recognition and acknowledgement of what Burtynsky, Baichwal and de Pencier call the “human signature” on the planet, which has deeply influenced Burtynsky and his focus on this project over the past five years.
EDWARD BURTYNSKY: ANTHROPOCENE Exhibition Dates: October 11 – December 29, 2018 Artist Reception: Thursday, November 1, 2018, 5:30pm – 7:30pm Signed monograph available
Robert Koch Gallery will exhibit Canadian photographer Edward Burtynsky’s highly anticipated Anthropocene project, his seventh exhibition at the gallery since 1999. Five years in the making, Anthropocene presents powerful and poignant works by Burtynsky mapping the impact of human intervention on planet Earth. Anthropocene will be exhibited concurrent to the release of the artist’s sixth Steidl monograph of the same title, and his film collaboration with filmmakers Jennifer Baichwal and Nicholas de Pencier; in conjunction with two museum exhibitions, one at the Art Gallery of Ontario and the other at the National Gallery of Canada.
Signed copies of Edward Burtynsky’s Anthropocene monograph will be available this Fall.
Edward Burtynsky: Anthropocene Exhibition Dates: October 11 – December 29, 2018