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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.” ...


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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

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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.

install 3 redo_2.jpg

FrameWork 5/17

Katie Lyle on Shirley Wiitasalo

To begin, you might lie down with your eyes closed allowing all of the room to fall away except the floor beneath you. Letting the push of gravity sink your weight, feeling the horizontal leveling of your body as it settles against the hard surface. You might let your muscles relax, and each bone soften at its edges until your skin is slumped loose against the flat, cool surface ...

GL fw.jpg

FrameWork 4/17

Hiba Abdallah on Gareth Long

The Cycles of Stupidity:

/st(y)oo’pidede/: noun

Behaviour that shows a lack of good sense or judgment.
“I can’t believe my own stupidity”



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Shane Krepakevich on Didier Courbot

Fig. 1
Serifs extend beyond the body of the letterform to describe their interdependence; the serifs are not an ornament, but an adjunct — an architectural appendage to a monument ...

illustration 2.jpg

FrameWork 12/16

Alex Bowron on Patrick Howlett

Writing about painting

‘Any picture can be understood as failed or incomplete writing, and the same is true of any writing’[1]

‘…[pictures] routinely escape attempts to have them make the kinds of orderly sense that art history desires’[2]

‘The painting is teeming with clues and with traces that the artist has left here like signposts’[3]

[1] James Elkins. On Pictures and the Words That Fail Them, New York, NY, Cambridge University Press, 1998, p. 131
[2] ibid xviii
[3] Françoise Barbe-Gall. How to Look at a Painting, London, Frances Lincoln Limited, 2010, p. 195


Liz Magor/Vancouver

Art in the Twenty-First Century, season 8

Liz Magor makes uncannily realistic casts of humble objects—gloves, cardboard boxes, cigarettes—that speak to mortality and local histories.

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FrameWork 10/16

Jacquelyn Ross on Derek Sullivan

The Scholar & The Ant By Jacquelyn Ross

There once was a great bookish man who lived in the country. He lectured once a week at the university in the neighbouring town, but otherwise passed his time doing research of a very complex kind. He woke each morning with a furrowed brow, lurching with a mug of piping hot coffee towards his study ...


FrameWork 9/16

Aryen Hoekstra on
and, something like fire dancing

Sometime during my first semester of school a classmate shared a story with me, told to her by a former professor, which explained the difference between ‘good art’ and ‘bad art’ by comparing the effectiveness of metaphor to that of simile. To paraphrase, simile is weak because it can be separated back into its constituent parts, whereas metaphor is strong because it elicits a third [new] thing that is distinct from its initial terms.

detail of the creature.jpg

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Edward Bacal on Kevin Yates

Up, Down, Left, Right: Some Thoughts on the Inverse, Reverse, and Double.


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Georgina Jackson on Brian Groombridge

The White Rabbit

The White Rabbit in Alice’s Adventures in Wonderland (1865) appears muttering "Oh dear! Oh dear! I shall be too late!" The pervasiveness of his anxiety alarms Alice as he proceeds to jump down a rabbit hole, and, into Wonderland. Alice’s White Rabbit clings to his pocket watch but the time is never right, it is always too slow.

dd_mm_yyyy orange 2.jpg

Am I just? Am I temperate? Am I brave?

by Robert Fones for thisistomorrow.info

Brian Groombridge works with the industrial materials and finishes common to Minimalist sculpture, but his vocabulary of colours, use of graphic systems, and artistic interests, are derived from a wide range of disciplines, fields of study and historical periods. Many of his preoccupations hark back to the classical world of Archimedes and Pythagoras, mathematicians who solved geometrical problems while postulating philosophical ones. In his recent exhibition at Susan Hobbs Gallery Groombridge continues to explore the ideas he has worked with for several decades: the relationship between printed graphics and real materials; co-existing systems of scale; and the physical laws affecting objects.

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Karina Irvine on Kelly Lycan

To glow, or cast a glow, is associated with a humble feeling of elation in addition to a low light. An under glow could refer to its direction, whether below eye level or beneath a surface where a soft humming light is only revealed through gaps or thinning parts of material. When considering the reproduction of images, an under glow might be the bulb from an enlarger emanating behind a negative, a photocopier’s sweeping light, or the computer screen. In Kelly Lycan’s exhibition Little Glow at Susan Hobbs Gallery, the relationship between light and object is brought into enigmatic focus, where chromatic shifts and blurred and grainy images tarry with questions of mediation and value.

Gold Box (frontal).jpg

FrameWork 11/15

Anne Low on Liz Magor

Not long ago, by coincidence I had three retail experiences in less than 24 hours. They varied from the lowest end of value in the form of a church basement sale, to a midrange department store slowly going out of business, to a new luxury department store. The categorical principles of organization were consistent in all three places, though more importantly they all had things on sale, marked down.

elevator detail.jpg

Sandra Meigs

2015 Gershon Iskowitz Prize

Sandra Meigs’ work has been described as expressive, eclectic and interdisciplinary; her paintings are known for their unique approach in combining complex narratives with comic elements in large scale works such as The Basement Panoramas and Strange Loop. She is dedicated to painting and refers to the possibilities of enchantment that painting presents through colour and form. For Meigs the very authenticity of one’s experience offers proof that what is imagined when looking at a painting is as real as anything else that one experiences in the world.

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FrameWork 9/15

Beth Stuart on Sandra Meigs

My knowledge of what a gong is, what a gong does, has until recently been drawn – albeit at negligible demand - from a foggy cultural catalogue. In my mind there was a well-oiled, well-muscled man striking a huge golden disc. His tidy and heraldic emission announces the beginning of a moving picture show.

Cherie Juliette (detail).JPG

Liz Magor: Six Ways to Sunday #06

Peep-Hole, Milan
24 September - 5 December, 2015

The exhibition focuses on a selection of recent and new works, and in a nod to the immediate historical context of Arte Povera, will primarily include a series of blankets, alongside other sculptures incorporating fabric samples, clothing and labels. Characteristic of her ongoing practice, the blanket works investigate the ontology of ordinary or familiar objects, which she remakes or repurposes, and presents in new contexts. These “serviceable objects” as she calls them, are redolent with association, discarded yet still imbued with and reflective of shared meaning.

Laurentian Woolmark.jpg

Liz Magor: Surrender

Art Gallery of Ontario
29 August - 29 November 2015

Investigating both natural and domestic spheres, Magor's sculptural works suggest forms of refuge, hoarding and hiding, confounding the boundary between reality and simulation through an exploration of materials and the painstaking deployment of various casting techniques. In this exhibition, everyday objects and forms, as well as the natural world, function allegorically by evoking the human need to surrender to desires, compulsions, fantasies.


FrameWork 7/15

Trevor Mahovsky on A kind of graphic unconscious

The works of A kind of graphic unconscious share some combination of being formally minimal, materially reductive and/or temporally repetitive but they are not inert: beyond the works of Shirreff and Deschenes, consider the black voids at the centre of Eileen Quinlan’s prints, and the Ur-forms suspended by rope within the mise en scène of Erika Vogt’s video Darker Imposter, along with the pulsing, repetitive structure of its editing. ...