FrameWork 6-19-3.jpg

FrameWork 6/19

Anouchka Freybe on Patrick Howlett

Patrick Howlett is a unique interpreter of systems of thought. As a painter, he plays within the formal cross-currents of Abstraction and Conceptualism and has a divining-rod sensitivity for translating human impulses into new schematics. The impulses are embedded in social psychology and forms of communication, and consider how perception and emotion filter and reshape data.


FrameWork 4/19

Kyle Buckley on Brian Groombridge

Recently a friend told me I was overly dependent on the map function on my phone for getting anywhere at all now. And added that measuring accuracy is just the belief that the degree to which we are mistaken about things is acceptable.

And then, on the appropriate Thursday night, I arrived at the Susan Hobbs Gallery on Tecumseth near where I work for the opening of a show by the artist Brian Groombridge.

on line news.JPG

FrameWork 3/19

Anna Gallagher-Ross and Jacob Gallagher-Ross on Gareth Long

Looking at the Figures

What captures the tenor of an era, especially an aspirational one? Romantic paintings often invite us to gaze at a picturesque ruin: a crumbling castle, say, that speaks of the folly of human striving and the pathos of decay. Sometimes our gaze is funneled through the vantage of a proxy viewer; more often, though, we’re left to insert ourselves into the landscape, and its narrative of inevitable decline, to place our own fragile figures onto its ground.


FrameWork 1/19

Evelyn Feldman on Ian Carr-Harris

Ancient water-lifting devices

The bilge is in the bottom of a ship. Wooden ships leak continuously. Water seeps between timbers of the hull, and collects in the bilge. Dewatering devices for bailing are critical in order to prevent ships from sinking.[i]

The bucket (ἀντλητήρια / antleteria)[ii]

The earliest bailing device. The bucket is a short cylinder, open at one end, with a curved handle bridging the open side.

Right Page.jpg

FrameWork 11/18

Shannon Garden-Smith on Derek Sullivan

I bound up the zig-zagging set of escalators, shifting into a desperate jog-slide as I hit the friction-free tile floor of the atrium and enter the store.

Locking eyes with the nearest t-shirted agent, I manage breathlessly:

“I’m here for my 11:15.”

ZT web.jpg

FrameWork 9/18

Magdalena Suksi on Zin Taylor

What happens when three voids start a conversation? In Zin Taylor’s Void Screens, inky ghosts float a little further into the open centres of each effort, getting the voids to open themselves to matter. As well, a smaller empty oval bobs in each panel, rolling away from a bracketing knob of black clay. There could be void happening in the briny ink wash radiating from the big untreated thought bubbles. These are ellipses with initiative.


Gareth Long: Travels with Two Donkeys in the Valley

Don River Valley Park, Toronto
June 2, 9, 16 & 23, 2018

In this new public commission, undertaken in partnership with the Donkey Sanctuary of Canada, artist Gareth Long will care for two donkeys from the Sanctuary each Saturday throughout the month of June, taking them for short walks along the Lower Don Trail.

Long has introduced the motif of the donkey in many of his previous works, as a way of engaging with methods of education and the processes of learning. Culturally speaking, donkeys have a long history as a motif in art and literature, typically representing stupidity, the “ass” or the fool; but they are also often included to represent moments of metamorphosis.


FrameWork 5/18

Jessica Karuhanga on Oliver Husain

An unannounced arrival is our point of departure. We enter and exit through the same frame. ...


FrameWork 4/18

John Nyman on Scott Lyall

... Maurice Merleau-Ponty’s “Eye and Mind,” his last published essay, makes a remarkable claim on behalf of painting and the picture in general. In the first place, he distinguishes sharply between the phenomenological world of images and the techno-scientific universe, in which appearance is only the residue of objects more effectively manipulated at the level of their materials. While science, in other words, bases all of vision on the sense of touch, only phenomenology can understand our lived experience of seeing as “having at a distance.” ...


FrameWork 2/18

Lauren Fournier on Althea Thauberger

the reparative practice of re-performing


- - -> performativity
~~~ interpellation

(a) re-performing

In Althea Lorraine, Althea Thauberger stages a performative intervention into the NFB’s archives, fixating on the figure of Lorraine Althea Monk.

OLSB markets and virtues part 2 view 2.jpg

FrameWork 1/18

Esmé Hogeveen on Krista Buecking

After a busy day of keyboard tapping, my hands just need a rest. Or perhaps it’s my mind that needs a holiday. Take a break from jumpstarting a new habit by saluting an old one. Fingers cruise me to a recently de-activated social media platform and my eyes glaze over at the incomprehensibly blank screen. It’s January, so self-care takes the form of vitality and not schlumping. Hello world! - - perhaps just one post to indicate my good health and intentions . . . and then maybe one more to imply my self-awareness - - I don’t want to appear cocky! Ahem - -

Two Bunnies.jpg

FrameWork 11/17

Katie Bethune-Leamen on Sandra Meigs

The canny valley.[1]
Forms before form is an idea in your head.
Disappearance. Trace.
Tappity-tap. Automatons.
Making out with a rock. vs. Making out with The Rock.[2]

[1] Chatting with my friend, David Court, about CG Sean Young in Blade Runner 2049 (2017) and he says “like there’s no more uncanny valley.” And we were both like “yeah, a canny valley?”
[2] Same conversation. Same friend. I told him that the previous night I had a dream in which I’d made out with The Rock. I could tell by David’s response to the statement that he’d misheard me as saying “made out with a rock.” He was totally disappointed when I clarified.


FrameWork 9/17

Danica Evering on
Rhonda Weppler and Trevor Mahovsky

The words cast and setting are drawn out of interests of Weppler and Mahovsky: molds and plaster casts, gypsum setting to hardened, copper foil impressions cast over objects, anthropomorphism and the interactions between objects as a cast of characters, casting down paint and light, the setting of the gallery space itself. I frame those interests and the works themselves in relation to the reflexive dynamic between those two words and the push and pull between them in four sets, each framed by a diagram image, to consider ethics, lineages, context, and mattering. The text has been laid out so it can be printed double-sided and then each page folded in half as a set.