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Karsh-Masson Gallery

Location and hours

Exterior of Karsh-Masson Gallery

Ottawa City Hall, 110 Laurier Avenue West
613-580-2424 ext. 14167 (TTY: 613-580-2401)
facebook.com/KarshMasson

Open daily 9 am to 8 pm, including holidays.
Free admission. Wheelchair accessible. Parking available. 

While at City Hall, be sure to visit City Hall Art Gallery, featuring contemporary exhibitions by professional artists.

About

This 1,500 square-foot gallery is proudly named after photographer Yousuf Karsh and painter Henri Masson in honour of their contributions to Canadian art. Exhibitions are selected annually by a peer assessment committee. Learn more.

Current exhibition

René Price – The Art of City Building

July 12 to September 4, 2018
Vernissage: Thursday, July 12, 5:30 to 7:30 pm
Artist talk and walkabout: Sunday, August 19, 2:00 pm

The artist will be present on Fridays from 1:30 to 4:30 pm.

 Image of found baseball cap

Image of found baseball cap by Petra Halkes. Courtesy of the artist.

 image of buildings

René Price, Towers of Power series, 2010-2017, mixed media, variable dimensions. Courtesy of the artist.

Reacting to the never-ending controversial development plans in Ottawa, satiric artist René Price has built a model utopian city, “OTTOWA” that will be presented on the floor, sprawling out from the middle of the gallery, giving the viewer an overview of it all, zoning and OMB permitting. Profit, growth, gentrification, human foibles and luck, all play a part in mapping out our collective future.

Catalogue excerpt

The Art of City Building is a modelled city, not a model city. Instead of a speculative representation of carefully planned and rationally managed development, it presents us with haphazard hoarded collections of juxtaposed, manipulated, and hacked objects that resemble and parody the city we know. But what city do we know?

-Sarah Gelbard

Biography

René Price is an Idea guy/inventor, Quirky Mockartist, Scribbler, Rascal, Non-smoking cyber Luddite and Grand Amateur. He has shown his Art stuff from Sainte-Foy (Quebec) to Montreal, Ottawa, Cornwall, Toronto, Hamilton, London (Ontario), Sault Ste. Marie, Winnipeg (twice) and Calgary. He has been reviewed in Border Crossings, Art Papers (USA), Espace, Artichoke and various newspapers. His artworks are in the odd collection. He wants to create MORCA (Museum of René’s Contemporary Art) in the Ottawa area, sometime soon!

René Price gratefully acknowledges the support of the Ontario Arts Council.

Upcoming exhibitions

Adrienne Scott - Magpie Landscapes

September 13 to October 31, 2018
Vernissage:
Thursday, September 13, 5:30 to 7:30 pm
Artist Talk: Sunday, October 21, 2:00 pm

An example of Adrienne Scott's artwork

Adrienne Scott, Conkers, 2016, inkjet print on paper, 60 x 90 cm. Courtesy of the artist.

An example of Adrienne Scott's artwork

Adrienne Scott, Mouths, 2016, inkjet print on paper, 60 x 80 cm. Courtesy of the artist.

Catalogue excerpt

Adrienne Scott’s way of collecting hints at a deeper understanding of the significance and potential contentiousness of imposing rigid codifications on—and claiming authority over—the world and its knowledge, an approach traditionally adopted by museums and archival institutions. As the artist gathers her ephemeral inventory, she “underscores the nature of all archival materials as found yet constructed, factual yet fictive.” [Hal Foster, “An Archival Impulse”, October, Vol. 110 (Fall 2004), The MIT Press, Cambridge, Massachusetts, p. 5.] It’s as though her fluid taxonomies support obscure fantasies tinged with a personal nostalgia for unspoiled ecosystems. In this sense, Magpie Landscapes can be read as an abstract catalogue of the world’s impermanent textures.

-Laura Demers

Biography

Adrienne Scott is an artist currently working in Toronto, ON. She is a graduate of the BFA program at the University of Ottawa (2016) and a recipient of the Edmund and Isobel Ryan Scholarship in photography. She has also participated in interdisciplinary projects through programs such as the 2017 Montreal Contemporary Music Lab (LMCML). She has participated in exhibitions throughout Ontario, including at Voix Visuelle (Ottawa, ON), the Gladstone Hotel (Toronto, ON) and Idea Exchange (Cambridge, ON).

 

Barbara Brown and Cynthia O’Brien – LifeCycle Conversations 
Judith Parker, curatorial collaborator

November 8, 2018 to January 9, 2019
Vernissage: Thursday, November 8, 5:30 to 7:30 pm

An example of Barbara Brown and Cynthia O’Brien's work

Barbara Brown and Cynthia O’Brien, She Remembers Me, 2017, collaborative sculptural installation, archival pigment on cotton rag, 107 x 133 cm (image). Courtesy of the artists.

Brown and O’Brien’s collaborative project entwines ceramic objects and photographic images of plant forms to create an immersive installation. Contrasting the timelessness of white ceramic flowers and leaves against the seasonal colour changes of a cultivated garden or wild forest, it suggests a conversation on dying, human frailty and how gardening is a memento mori, a reminder that death is inevitable. 

Compliance Review: 2019 Exhibitions

Posted August 1, 2018

The City of Ottawa invites you to review the exhibitions selected by the peer assessment committee for the Karsh-Masson Gallery and City Hall Art Gallery 2019 exhibition season. Within the next 30 days, members of the public may bring forward any concern that the peer assessment committee did not follow the criteria and procedures as described in the Call for proposals. Please contact publicartprogram@ottawa.ca with your concern between August 1, 2018 and August 30, 2018 at 4 pm.

More information about this 30-day process is included in section 4.2 of the Public Art Policy.

Exhibitions selected by 2019 peer assessment committee

Artists: Gabriela Avila-Yiptong, Rachel Gray and Lea Hamilton

An example of the type of work that will be included in the exhibition.

Proposal synopsis: This exhibition aims to explore the increasing overlap between natural and manufactured spaces by creating an immersive environment made from altered natural elements. The exhibition is a collaborative effort between three emerging artists and will combine large-scale charcoal drawings executed directly on the gallery walls, a “pond” made of chemically-altered copper plates, large-scale mounds that mimic natural land formations, plaster-casted sculptures of discarded materials, and aquariums that will hold mounds made of decomposable materials submerged in water.

Images (left to right):
Rachel Gray, Fallen Log
, 2018, charcoal, ink and acrylic on drywall, 1.2 x 3.6 m. Courtesy of the artist.
Gabriela Avila-Yiptong, Aquarium, 2015, Plexiglas, magazines, glue and water, 46 x 30 x 46 cm. Courtesy of the artist.
Lea Hamilton, Studio Stills, 2017, plaster, variable dimensions. Courtesy of the artist.

 

Curator: Emily Falvey
Artists: Amanda Earl, Nadia Myre and Karen Trask
Working title: Unbound

An example of the type of work that will be included in the exhibition.

Proposal synopsis: Unbound is a group exhibition exploring visual art and visual poetry that appropriates and transforms found written texts, such as official documents, manuals, protocols, and religious canons. In so doing, it will also explore a variety of related themes, including temporality, memory, physical embodiment, and the tension between social conventions and individual choice.

Image: Amanda Earl, The Vispo Bible: Exodus 10, ongoing since 2015, digital print, 20.3 x 25.4 cm. Courtesy of the artist.

 

Artists: Annette Hegel and Deborah Margo
Working title: Apidictor Symphony

An example of the type of work that will be included in the exhibition.

Proposal synopsis: Apidictor Symphony is a multi-sensory installation bringing together scent, sound and three-dimensional elements in an illustration of bumble bee culture. Visitors move between bumble bee nectar pod “nests" made of beeswax, which rest on a carpet of sedum plants; pollinator conversations and songs are also located inside the pods. These soundscapes relate to each other like movements of a symphony, taking the listener through variations of speed, pitch and volume.

Image: Annette Hegel and Deborah Margo, Apidictor Symphony, 2018, mixed media, 5 x 5 x 1.5 m (approx.). Courtesy of the artists.

 

Artists: Gillian King, Helga Jakobson and Whitney Lewis-Smith
Working title: Terramatter

An example of the type of work that will be included in the exhibition.

Proposal synopsis: Terramatter brings together the work of three visual artists, Helga Jakobson, Gillian King, and Whitney Lewis-Smith to create a multi-layered and sympoietic system within the City Hall Art Gallery. Concerned with the environment and ecological destruction, the artists explore how we can reconnect with nature and other living beings through sympoiesis, or ‘becoming-with’ the organic world. The artists will build a site specific, interactive installation that functions as a laboratory and research space centered around three plant chambers.

Images (left to right):
Gillian King, Iron Yolks
, 2018, mixed media, 152 x 122 cm. Courtesy of the artist.
Helga Jakobson, Entropic Symphony, 2018, online audio platform, variable dimensions. Courtesy of the artist.
Whitney Lewis-Smith, Transfix, 2018, heliogravure etching on copper, 89 x 114 cm. Courtesy of the artist.

 

Artist: Léna Mill-Reuillard
Working title: Misceo

An example of the type of work that will be included in the exhibition.

Proposal synopsisMisceo is a video installation that treats the landscape as an open space, static but constantly renewable. Wind and gradual changes in light enables us to detect movement. The landscape fills up the space, immerses us in the image. The projection spreads across the walls and ground on a reflective surface. The portion of the image projected onto the ground is reflected again on the walls, creating superposition—projected image/reflected image—of new perspectives. The exhibition space inhabited by the landscape encourages viewers to invest the space with their presence.

Image: Léna Mill-Reuillard, Miscere (documentation of the installation), HD video projections, 5’5’’ x 12’ screen, Plexiglas, 25 minutes. Courtesy of the artist.

 

Artist: Nathalie Quagliotto

An example of the type of work that will be included in the exhibition.

Proposal synopsis: This proposed exhibition of sculpture consists of reconfigured old children’s objects and looks at how humour and play can affect reform in a social setting.

Image: Nathalie Quagliotto, Urban Crib, 2014, metal carts, 60 x 152 x 121 cm. Courtesy of the artist.

 

Artist: Benjamin Rodger
Working title: Tu peux encore changer le monde

An example of the type of work that will be included in the exhibition.

Proposal synopsis: I have tentatively titled the proposed exhibition Tu peux encore changer le monde (You Can Still Change the World). This phrase is taken from a discussion I had with one of Joseph Kosuth’s assistants while staying at an artists’ residence in Leipzig, Germany. Written in neon, the phrase will serve as the centrepiece of the exhibition. A series of wall-mounted paintings will reflect the new artistic approach I adopted upon returning home, in response to discussions and debates I had while in Germany.

Image: Benjamin Rodger, Ligne rouge, 2018, acrylic on cherry wood, 121 x 91 cm. Courtesy of the artist.

 

Curator: Jakub Zdebik
Artists: Luce Meunier, Sarah Rooney and Monica Tap
Working title: Abstract Networks

An example of the type of work that will be included in the exhibition.

Proposal synopsisThe Abstract Networks exhibition showcases the abstract paintings of Luce Meunier, Sarah Rooney and Monica Tap which, taken together, represent a digital network aesthetic. Meunier’s use of rigorous geometric forms expresses the relation between art and information systems represented as grid formations. Rooney, through her hybrid practice of digital photography and oil painting, explores abstract representations of intermedial space. Tap’s works are based on Quicktime videos of landscapes furtively captured from moving vehicles embodying conceptual and schematic studies of pictorial coding and, by extension, the mediation of perception. Through abstract paintings, these three artists engage with an equally abstract reality made up of data, code and information.

Images (left to right):
Luce Meunier, Flot 12
, 2017, acrylic on canvas. Courtesy of the artist
Sarah Rooney, Suspended Emulsion #2, 2017, inkjet print, 76 x 71 cm. Courtesy of the artist
Monica Tap, Company, 2016, oil on canvas, 170 x 122 cm. Courtesy of the artist.

 

Call for proposals: 2019 exhibitions

Karsh-Masson Gallery and City Hall Art Gallery

Images of City Hall Art Gallery and Karsh-Masson Gallery
(left) Ben Globerman – Call to Prayer, City Hall Art Gallery / Galerie d’art de l’hôtel de ville
(right) Mana Rouholamini – … de patience, Karsh-Masson Gallery / Galerie Karsh-Masson

This competition is now closed. The Call for proposals: 2020 exhibitions at Karsh-Masson‎ and City Hall art galleries will be announced in March 2019. 

Once a year, the City of Ottawa Public Art Program invites professional artists and curators to propose an exhibition. Proposals are reviewed by a peer assessment committee and selected exhibitions are presented at Karsh-Masson Gallery or City Hall Art Gallery the following year.

About Karsh-Masson Gallery and City Hall Art Gallery

Exhibitions at Karsh-Masson and City Hall art galleries feature the work of professional artists working in visual art, media art and fine craft and include solo, two-person and group exhibitions; curated exhibitions; exhibitions from the diplomatic sector, and circulating exhibitions from other institutions. Annual programming includes artist talks, tours and panel discussions as well as one exhibition of the City of Ottawa Art Collection and one exhibition of artwork by a graduating student from the University of Ottawa MFA program.

Karsh-Masson and City Hall art galleries are located on the main level at Ottawa City Hall, 110 Laurier Avenue West. Both galleries are open daily from 9 am to 8 pm. Admission is free.

A public gallery is a forum for the exploration of diverse ideas. The City of Ottawa exhibits artwork in all media that are of interest and importance to the community, that foster a sense of who we are, and that reflect current artistic practices. These exhibitions are presented in the public domain allowing for an appreciation, understanding and interpretation of our past and present through gallery programming.

Gallery Floor Plans

Eligibility

  • Professional visual artists and curators who are emerging, mid-career or established, and working in visual art, media art, fine craft, design and other new art forms. A professional artist is someone who has specialized training in his or her artistic field (not necessarily in academic institutions), who is recognized by his or her peers as such, is committed to his or her artistic activity, and has a history of public presentation.
  • Applicants who have exhibited at Karsh-Masson Gallery or City Hall Art Gallery within the last two consecutive years are not eligible to apply. City of Ottawa employees and elected representatives are not eligible to apply.

The City of Ottawa supports cultural activity that is inclusive of Ottawa's diverse community, including people from diverse ancestries, abilities, ages, countries of origin, cultures, genders, incomes, languages, races and sexual orientations. The City of Ottawa recognizes the Algonquin Anishinabe Nation as Ottawa’s Indigenous Host Nation. The City of Ottawa is committed to supporting cultural activities that respond to the Calls to Action put forward in the Truth and Reconciliation Commission Report. Applications from First Nations, Inuit and Métis artists and curators are welcome and encouraged. The City of Ottawa recognizes both official languages as having the same rights, status and privileges.

Assessment criteria and process

All eligible applications are reviewed by a peer assessment committee based on the following criteria:

  • artistic merit and professionalism
  • regional importance and innovation
  • quality and cohesiveness of the artwork examples and the written proposal statement
  • appropriateness of the proposal to the public nature of the gallery space

Peer assessment committee members first review eligible applications individually then meet to review them together. The composition of each committee aims to balance representation of artistic specialization, practice, style, and philosophy, as well as fair representation of official languages, gender, geographic areas and culture-specific communities. Peer assessment committee members are chosen based on their knowledge and experience, fair and objective opinions, ability to articulate ideas, and ability to work in a team environment. Members of the committee change with every competition. City employees are responsible for the selection of peer assessment committee members. If you are interested in participating as a peer assessment committee member, please email publicartprogram@ottawa.ca.

Honorarium  

Exhibiting artists will be paid an exhibition fee as outlined by the 2019 CARFAC Fee Schedule. Curators will receive a professional curatorial fee.

The City of Ottawa Public Art Program does not reimburse expenses related to travel, transportation of artwork and accommodation, nor are per diem fees paid.

Compliance Review

Following the peer assessment committee’s deliberations, the selected exhibitions will be announced on ottawa.ca. Members of the public are invited to bring forward, within a 30 day period, any concern that the peer assessment committee did not follow the publicly announced criteria and procedures.

Contact us

Karsh-Masson and City Hall Art galleries are operated by the City of Ottawa Public Art Program. For inquiries or assistance, please email publicartprogram@ottawa.ca or call 613-244-6852.

To receive emails about gallery exhibitions, programming and calls for proposals, email publicartprogram@ottawa.ca with the subject line “subscribe – exhibitions.”

Past exhibitions 2018

Jennifer Anne Norman – Forest for the trees

April 26 to July 4, 2018
Vernissage:
Thursday, April 26, 5:30 to 7:30 pm
Artist talk: Sunday, May 6, 2:00 pm

Catalogue excerpt

Jennifer Anne Norman’s graphite and mixed-media drawings depict the assemblages she creates by repurposing post-consumer waste to repair and redress fragile tree branches. Norman carefully wraps the knotted limbs of broken branches with pieces of local debris, a tender gesture that invites us to consider our responsibility towards the natural world.

-Isabelle Lynch

Un exemple d’une œuvre d’art conçue par Jennifer Anne Norman

Jennifer Anne Norman, Becks, 2017, graphite and mixed media on paper, 48 x 61 cm. Courtesy of the artist.

Un exemple d’une œuvre d’art conçue par Jennifer Anne Norman

Jennifer Anne Norman, Reclaim (work in progress), 2017. Courtesy of the artist.

Biography

Jennifer Anne Norman is a multidisciplinary artist with ecological motivations. She hails proudly from Northern Ontario and is currently based in Toronto. She received her BFA from OCAD University, and her MFA from the University of Ottawa. Norman has received multiple grants from the Ontario Arts Council for the production of her work and has participated in numerous national and international artist residencies. She has exhibited in Canada, Scotland, Italy, Korea and the USA, and her work is included in numerous private and public collections including the National Art Bank of Canada.

Jennifer Anne Norman gratefully acknowledges the support of the Ontario Arts Council.

 

Andrew Ooi – Anatomy of Resilience

February 8 to April 18, 2018
Vernissage: Thursday, February 8, 5:30 to 7:30 pm

an example of Andrew Ooi's work

Andrew Ooi, Matrix 2, 2015, acrylic on gampi, 25 (diameter) x 2 cm. Photo: Natalie Shahinian, courtesy of the artist.

an example of Andrew Ooi's work

Andrew Ooi, Trinity, 2015, acrylic and ink on gampi paper, 19 x 35 x 3 cm. Photo: Natalie Shahinian, courtesy of the artist.

Catalogue excerpt

Andrew Ooi has chosen an unpretentious material to work with, even if his paper is Japanese gampi, made by hand from the inner bark of a bush.  He cuts it into strips, then into small rectangles before drawing and painting it; after that comes the folding, gluing, and assembling.  This is patient work, the gradual building occurring over many hours, and there is, I imagine, a playful element here, something of the concentrating child sitting cross-legged on the floor.  This painting and folding seems a simple practice, but what Ooi produces isn’t simple at all.  This is the first of the many contradictions in his work.

-Cary Fagan

Biography

Self-taught in matters of art and origami, Andrew Ooi made his debut in the interior design community who quickly took notice of his radiant objects. The works were published in Illuminate: Contemporary Craft Lighting (Bloomsbury Publishing) and 1,000 Product Designs: Form, Function, and Technology from Around the World (Rockport Publishers), after touring at events and exhibits in Ontario, Canada and Jyväskylä, Finland. Exhibiting in galleries introduced him to the potential freedom of pursuing a visual art practice, which has led him to explore paint and paper; colour, and especially pattern. Andrew Ooi’s artworks have been exhibited in group and solo shows in the US and in Canada where he is currently based. His work is represented by L.A. Pai Gallery in Ottawa, ON and by BoxHeart Gallery in Pittsburgh, PA.

Andrew Ooi gratefully acknowledges the support of the Ontario Arts Council.