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New Exhibitions Open: Julia Dault and Shannon Bool

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Opening reception: Thursday, April 30, 7–10pm
Join us to celebrate the opening of our two new exhibitions.

Julia Dault
‘Blame It On the Rain’
May 1 to June 28

The Contemporary Art Gallery presents a major solo exhibition by Toronto-born, New York–based artist Julia Dault. Through a selection of new and recent works, the exhibition reveals the importance to Dault of balancing spontaneous gesture with responsiveness to rules, logic and the constraints of materials. Physical negotiations are central to Dault’s textured paintings and improvised sculptures; both are exhibited in Blame It On the Rain.

Dault is interested in ‘embodied knowledge’ — how making is thinking — and reinserts the artist’s hand into a minimal aesthetic primarily interpreted as distanced and industrial. The artist’s rule-based painting involves responding to mass-produced elements — patterned silks, pleather, unmixed paint straight from the tube — with unconventional tools, such as squeegees, rubber combs and sea sponges. The limitations of these objects create quasi-standardized gestures that allow Dault to skirt the line between expressive abstraction and cool, machine-like facture.

The exhibition complements ‘Color Me Badd’, presented at The Power Plant, Toronto in 2014. The two institutions are working together on the first major monograph of Dault’s work, to be published by Black Dog Publishing later in 2015.

Shannon Bool
‘Michelangelo’s Place’
May 1 to August 30

The Contemporary Art Gallery presents the second part of a new commission in 2015 with Canadian artist Shannon Bool. Located near to the gallery entrance is Michelangelo’s Place, the final version in a series of marble benches Bool has recently produced. The sculpture references the benches found circling the elevated Piazzale Michelangelo in Florence, built in 1869 to showcase copies of Michelangelo’s most famous works and to provide a panoramic view of the city. At the Contemporary Art Gallery, Bool’s sculpture references the benches’ scale and appropriates the graffiti that covers them some of which is over 100 years old. These energetic gestures of incision, gouging and defacing subvert the benches’ functionality by drawing attention to the individual experiences of the Piazzale’s visitors who chose to leave their own marks instead of consuming the magnificent views of the renaissance.

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