By Robin Laurence
HUBERT HOHN Art Gallery of Alberta, Edmonton, To Nov 11
Subtitled Edmonton Entrances and Suburban Landscapes, the show features two series of photographs, undertaken by Hohn in the 1970s, of Edmonton’s domestic architecture. The first records, in rich colour and with compelling detail, the doorways of fieldstone and stucco bungalows common to the city in the 1940s and ’50s, revealing lively elements of vernacular design. The second series, shot in black and white, takes the city’s growing suburbs as its subject, expressing a quite different design aesthetic.
CARL WHITE: KOAN Christine Klassen Gallery, Calgary, To Jun 23
This Liverpool-born, Calgary-based artist juxtaposes classical European painting traditions with the anti-establishment gestures of punk rock and skateboarding culture. His recent paintings reference the Zen Buddhist concept of the koan, a paradox to be meditated upon in order to relinquish reason and find enlightenment. White seeks to “provoke doubt” and question painting’s relevance by overlaying what look like skillfully rendered homages to Old Masters with graffiti and other defacing marks or text.
ANNA TORMA: BOOK OF ABANDONED DETAILS Esker Foundation, Calgary, To Sep 2
A remarkable textile artist, Anna Torma creates large-scale, hand-embroidered wall hangings and collages that manage to be both monumental in impact and intimate in mood. Her work, she has said, addresses “femininity, domesticity, and ethnicity,” and evinces the influences of children’s art, folk art and Art Brut. Born in Tarnaörs, Hungary and educated at the Hungarian University of Applied Arts in Budapest, Torma arrived in Canada in 1988 and has been based in Baie Verte, New Brunswick since 2002.
MARIE LANNOO: SPECTRUM Newzones, Calgary, To June 23
Formerly a figurative painter, Marie Lannoo here works in the high-modernist traditions of geometric abstraction, pattern painting and Op Art. Her six new large-scale acrylic paintings exist together as a continuum, without any obvious beginning or end. Working with geometric shapes of varying shape, size and chromatic intensity, she immerses viewers in colour and luminosity, expanding the visual experience into the temporal realm and suggesting a coming into being.
MONICA TAP Peter Robertson Gallery, Edmonton, Jun 14 – Jul 7
Widely exhibited and acclaimed, Toronto-based artist Monica Tap takes apart elements of landscape painting and puts them back together again; in so doing, she addresses memory, place, time, and the cultural construction of nature. Working from art historical references as well as from her own photos, notes and remembered images, she explores the many ways we have shaped an idea of landscape and the relationship of those ideas to what the natural world actually looks like.