List of Call to Artists: Art Show Submissions Western Greater Toronto Area 2014

Are you a visual artist in the Greater Toronto Area? Here are some 2014 western Greater Toronto Area juried art shows to keep an eye out for in the next few months. It's a little to early for some exact deadlines, but I hope the list below helps you plan for 2014.  Good luck, everyone!

• Check starting early November  2013. Visual Arts Mississauga (VAM) 36th Annual Juried Show of Fine Art at the AGM (Art Gallery of Mississauga). Entry date & details through VAM is not posted yet. https://www.visualartsmississauga.com Note: Opening reception is listed on AGM site for Thursday, January 16, 2014, 6 pm
• Check from December 2013 on until early 2014 for entry deadline. Ontario Society of Artists " 141st OSA - Annual Juried Exhibition"  http://ontariosocietyofartists.org The show dates are Tuesday, April 1  – Friday - April 25, 2014
• Check by March 2014. “Through the Eyes of the Artist” Lakeshore Arts Annual Juried Exhibition. http://www.lakeshorearts.ca
• Start checking in January 2014.  Artcetera 2014. Elora Centre for the Arts.http://www.eloracentreforthearts.ca
• Deadline early March 2014^.  7^th Beaux-Arts Brampton Annual Open Juried Show 2013 www.Beaux-ArtsBrampton.com
• Deadline end of March 2014  5^th Annual Open Juried Photography Show 2013 Beaux Arts Brampton Gallery www.Beaux-ArtsBrampton.com
• Deadline early 2015. The Kingston Prize occurs every  two years. The 2013 show is on now. Nationwide Juried Portraiture painting show.  http://www.kingstonprize.ca
• Check by April 2014. 18^th Annual Juried HAFestival Art Show & Sale (Headwaters Arts Festival). Show is in September during Headwaters Arts Festival. http://headwatersarts.com
• Check by April 2014 . “Insights” Wellington County Museum and Archives. (between Elora & Fergus) www.artscouncil.elora.on.ca
• Check by early summer 2014  6^th Annual Open Juried Wildlife, Nature, & Native Juried Show 2013 Beaux Arts Brampton www.Beaux-ArtsBrampton.com
• Start checking in the summer of 2014 for the October Canadian Society of Painters In Watercolour show. www.cspwc.com
• Check by  September 2014. Colour and Form Society Annual Open Juried Art Show. www.colourandformsociety.org

Some Other Calls for Entries of Interest

• entry starts in December 2013 until early March 2014. Toronto Outdoor Art Show. Nathan Philips Square. www.Torontooutdoorart.org
• Sign up in October 2013 to receive sketchbook. Note: Be sure to include your sketchbook in the tour to your area. Finished sketchbook due early January 2014. The Sketchbook Project.www.sketchbookproject.com

Call for Visual Artists Juried Shows Dec. 2011, Jan. 2012

Here's the most recent "calls for entry" for visual arts juried art shows in the Greater Toronto Area. I'll gladly post any others you know about. Just leave me a note in comments. Good luck!

Deadline Dec. 1, 2011.  For OCAD University alumni "Where They Are Now!" http://www.ocad.ca/Assets/pdf_media/submission+form+2012.pdf   Note: 2 years at the college/university qualifies for alumnus status

Deadline Dec. 18, 2011. Artists Network  "MonArchy". As a playful acknowledgement of Queen Elizabeth II DIamond Jubilee in 2012, Artists Network are asking artists which side they align with. http://www.artistsnetwork.ca/node/330

Deadline Dec. 20, 2011.  Visual Arts Mississauga 34th Annual Juried Exhibition. Art Gallery of Mississauga. FYI : art work must be made in 2011 - 2012.  Application: http://www5.mississauga.ca/agm/agm_root/downloads/VAM34.pdf

Deadline January 24, 2012. Ontario Society of Artists (OSA)  139th Annual Open Juried Exhibition. John B. Aird Gallery, Toronto.  Theme: "Darkness and Light" http://ontariosocietyofartists.org/member_events_exhibitions/open_juried_exhibition

Deadline January 31, 2012 World of Threads Festival .Fibre Art.  http://www.worldofthreadsfestival.com/submissions.html At least seven venues in  Toronto and Oakville, including Abbozzo Gallery (Oakville), Joshua Creek Heritage Centre (Halton) and the Sculpture Society of Canada Gallery (Toronto).

Deadline Feb. 2012 Paint Ontario Art Competition, Sale & Show http://www.paintontario.com/form.htm Lambton Heritage Museum, Grand Bend, Ontario

Art connections - Me, the Mill & the AGM

The Model Visits the Studio, the oil  painting I recently completed of my Williams Mill studio, has  been accepted into the Visual Arts Mississauga 33rd Annual Juried Art Show at the Art Gallery of Mississauga. That's not the only Williams Mill connection. My daughter, the figure featured in the painting, and the subject of many of the paintings within the painting, worked in the  Williams Mill Gallery throughout the summer. The show opens Thursday, January 13th at 6 p.m. and continues until Feb. 16th. Jurors for this competition were visual artist Corinne Duchesne and Oakville Galleries Curator of Contemporary Art, Marnie Fleming.  

The Artist Studio - Big Cats "Spring Into Art"

[slideshow] Above are a few photos of my studio - all cleaned up for this past weekend's  "Spring into Art" Open House - an annual event on the first weekend of May  at the Williams Mill Visual Artist Centre. Lots of black oil paint going on it those giant paintings of cats! I changed the "wet paint" sign to the more effective "Warning   - Big Wet Cat".

Artist Carmen Hickson supplied the tulips, and not seen,  I had lilacs and crabapple blossoms. As an aside, lilacs are out  in Mississauga, are simply buds in Halton Hills, and a visitor told me are not yet in bud in Ottawa. The coffee was ready to brew on the Keurig, and the chocolates were out. Thank you to everyone who took the time to stop by. I always appreciate your investing in my art.

Couldn't make it this time? My studio, as well as the over 30 others at the Williams Mill Visual Arts Centre are open Fridays and Saturday 12 - 5 pm. The Williams Mill Gallery is open Wednesday to Sundays 12 - 5 pm.

The Williams Mill is in the western GTA (Greater Toronto Area). It is only 5 minutes south of Terra Cotta, and  is 15 minutes north of Winston Churchill Blvd. and the 401 in Mississauga.

New Painting Begins: Giant Cat Portrait

I just finished a series of 8" x 8" paintings  - Scotsdale Farm: Snow & Shadows. I needed to stretch my wings after painting so small.

A larger than life portrait painting of a Maine Coon cat in silver, black, and white oil stick and oils seemed the natural next step.

What I have done so far -

• It is the first time I have used Tri-Art "sludge". I used it to cover the white canvas and add some texture.
• After applying the sludge, I saw a large cat eye, ear &  head looking right in the swirls of the paint.
• Decided to go with my instincts. Found a photo of my silver tabby  Main Coon cat to use roughly as a reference.
• &  voila ... the painting begins. The face emerges some more out of the darkness.

Plein air painting at Riverwood with OPAS

Today I was to paint with the new group Ontario Plein Air Society, but rain got in the way. Instead we held a very constructive meeting in OPAS leader Zan's SUV, and roughed out goals for the next year. OPAS will be holding plein air painting sessions every Sunday until November and yours truly will help organize at least three of them, including the three day paint out to be held in conjunction with the international plein air paint out day! To find out more about and /or to join OPAS  (it's free!) visit   http://ontariopleinairsociety.blogspot.com/ Meanwhile here are a few hits of colour on what was a very gloomy day.

New Oil Painting: Lake Huron Afternoon

Just finished this painting today, and have another small one almost done.  With my first art fair,  Art 2009 , drawing near, the crunch is on!  I am quite excited about this painting as I made a conscientious effort to apply more paint to the canvas.  After looking at a detail of the brush work of Australian artist Wayne Haag on his blog, I had a Eureka! moment. I am too stingy (not deliberately) with my paint. Although I am a confident painter, and my past paintings have definitely met with success, perhaps I am still caught up in my watercolor roots. Although the painting above  is not textured, the paint is quite loaded on, in comparison to most of my other paintings. I really enjoyed painting this piece - and it wasn't just because I got to paint a scene of my daughter  reflecting in the summer sunshine by Lake Huron.

Note: this is third of a a series I am tempted to call  "The Reluctant Tourist" .  Any one out there who has "forced" their  children or teens to vacation or day trip will relate. Although I am not without sympathy - I certainly remember teen age trips  with my parents, where I spent my time ducked down in the back of the car . Who knows who might have seen me?!

Mini Art lesson 4. Learn Along with me in How to Paint Grays in Oil.

One of the reasons I wanted to create the painting I have in progress at the moment (scroll down) was the challenge to paint many variations of the colour gray. A trivia  email going around states that the human eye sees 500 shades of gray. In trying to confirm this online,  I have found the human eye sees 500, 700, 256, a dozen and less than 16 shades of gray.  Whatever the true answer is, it is a lot more than I normally mix in  my standard palette, and in the creation of this painting  I hope to illustrate as many variations as I can. Normally, I use the following  standard palette -

• cadmium yellow pale
• yellow ochre
• cadmium red
• alizarin crimson
• viridian
• olive green
• chrome green
• cerleum blue
• cobalt blue
• ultramarine
• burnt umber
• titanium white

I create black from mixing equal parts burnt umber and ultramarine and my grays from adding white to that mixture. (see lower right of palette above)

So how to expand on my knowledge of creating grays?

I turned to the terrific book I bought recently Color Mixing For Artists Minimum colors for maximum effect using watercolors, acrylics, and oils by John Lidzey, Jill Mirza, Nick Harris, and Jeremy Galton. Barrons Educational Series Inc. This is one of the most readable, portable, helpful and affordable color books found in our local stores.

This is the starter palette from Color Mixing For Artists

• titanium white
• lemon yellow
• cadmium yellow
• yellow ochre
• cadmium red
• alizarin crimson
• Winsor violet
• French Ultramarine
• raw umber
• Payne's gray

The book has a whole section on mixing gray as well as sections on mixing most other colors

Palette 1. Using Alizarin crimson, viridian, ultramarine, lemon yellow

Left: 7 parts viridian, 1 part alizarin, 2 white

Centre: 3 part viridian, 1 alizarin crimson, 6 white

Right: added some more viridian and white  to left mixture

Ignore blue blob

Palette 2

Left: 2 parts French Ultramarine, 1 alizarin crimson, 2 lemon yellow, trace white

Centre: 4 parts French ultramarine, 1 cadmium red . White.

Right: 20 parts viridian, 1 part crimson, white, and more white

Palette 3

Top left: 4 parts cerelean blue, 2 camium red, 1 lemon yellow, 2 white. And more white.

Bottom left: Mixtures of ultramarine and alizarin and white.

Bottom right: cerelean blue, burnt umber , white

Top right: 3 french ultramrine, 1 alizarin crimson, trace lemon yellow, white

Of course what I am really doing for much of this painting is creating the illusion of white painted surfaces- the railing, painted walls, white flowers on the t-shirt- in shadow and reflection. One of the great joys of painting is learning to intrept just what it exactly what we are seeing. When asked what colour are the walls, we would answer white, but what we paint is another story.

An additional note. A couple of years ago I enjoyed a show entitled "White" at the the Abbozzo gallery in Oakville.  Examples of the interpretation of white from all the gallery's stable of artists wwere on display. This show was a great example to all painters and students on the myriad of ways to paint white (and its grays)  - whether in abstract. realistic or illustrative painting. To see a few examples from this show click here.

Art: See Gull painting. New Acrylics Golden.

I finally finished this 20" x 20" inch canvas of a sea gull by the steps of Gairloch park in Oakville, Ontario.  This is the second painting I have completed using the relatively new Golden Open Acrylics.

Having concentrated on teaching myself oils this past 6 years, I have very little experience with acrylics. I do know that I found the actual process in my traditional acrylic work too different from how I now naturally paint in oils.

What lured me to try the new Golden Open Acrylics, however, was the promise of a longer drying time. As well, the colours stay quite true when they dry to how they looked when applied. I have been told that traditional acrylics dry darker (imagine thinking of acrylics as traditional).

I had some technical difficulty at first with my brushes as they were meant for oils - easily solved with a few more dollars spent.

The slow drying time of the paint really does lend itself to my method of applying paint and as I got into my painting "zone" I easily forgot I was working with a new medium.  The paints are looser than oils (thinner?) and so I missed the feeling of "carving" into the canvas. As well I haven't really figured out how to glaze.

Thanks to twitter buddy, Bernard Victor, I learned that Winsor and Newton , now also have a line of slower drying Artists' Acrylic , not yet available in Canada. Here is a terrific area on the  Winsor & Newton site with videos on featured artists - all who have very different methods of using acrylics, and a contest (you can rate the entries- Bernard has entered this) for acrylic painters- http://acrylics.winsornewton.com/en/.

Speaking of  Winsor & Newton, have you heard of their North American rep, Canadian artist Doug Purdon? The extensive and fascinating knowledge  this artist has  on the history of materials, technique, and more, is an experience not to be missed. If you ever can hear Doug speak, go for it, he is  a treasure trove of educational and entertaining anecdotes.

Have you tried the new Open Acrylics? Let me know what you think or any tips you have to share.

Grey Paint. Phenology. Where's the link?

Today I was going to talk about painting greys, that is until I did a look see at  The Riverwood Conservancy new web site- here. Formally the known Mississauga Garden Council, this non profit organization has chosen a new name more suitable to  their role as steward (and much more)of this amazing urban wilderness - that in their words, to which I fully concur-  is both "beautiful and wild".

There is much to explore in this 150 acre old growth forest that is the most ecologically diverse in the Credit Vally watershed. Do you know that the salmon, yes salmon, are working their way through the 6th largest city in Canada, right about - let me check my watch - now?

But what I really wanted to let you in on is the niftyRiverwood web feature, the Phenology Database . At this link one can search for the time and place of the sightings of specific animals and birds. I think this is a great tool for nature lovers, artists and photographers alike.

As well, one can return the favor and enter the location, time etc. of the wildlife seen. I think this would be a nice participatory thing thing for the kids to do, too.

You don't have to be an artist to enjoy a visit to Riverwood... but I strongly suggest you'll regret not bringing your camera.

So much  talk about Riverwood on such a sunny spring day. The greys can wait. Guess where I'm heading?

Riverwood, Mississauga crocus Copyright Christine Montague 2009

Big heART Ideas for Mississauga Small Arms Building

In the blog earlier today, I wrote about the thoughtful & inclusive process Mississauga has undergone to research the betterment of arts and culture in the city. The creation of venues for culture, heritage and education in Mississauga, has pretty well taken a back seat to 30 years of building houses, and attracting business. Pretty well complete, the city has outgrown its "bedroom community" moniker. More people are coming into Mississauga to work than leave, and guess what? A lot of artists want to work, learn, perform, teach, exhibit, sell, share, mentor, here too. But where?

Well, AIM, (Artists in Mississauga) and the Lakeview Ratepayers Association, may have the solution! Sitting on Lakeshore Blvd East, with Lake Ontario to its back is the 33,000 square foot Small Arms Inspection Office Building. This building has everything one could envision for a world level arts (all arts) centre.

The positives:

· It is ENORMOUS- solving city's desperately needed room for studios (visual art , dance, sound, & more), workshops, installations, cafe, galleries, heritage museum

· fabulous lighting everywhere - huge windows, skylights

· high ceilings (which do play a part in creativity - high ceilings, big ideas)

· Location, location, location. By the lake, Lakeshore Rd & Mississauga Transit, by Longbranch Go, by TTC streetcar, by Marie Curtis Park, by future parks and Lakeview's Heritage Plan

· Plenty of free parking space

· handy to plenty of walk by traffic - especially when those parks go in

· Large welding area- large garage doors - set to go as metal sculpture centre. Who else has one of those?

· Important potential for tourism, arts, culture, and citizen destination

· Important potential for artist to sell, work, interact, teach, exhibit, Stay in their city to create!

· Heritage: This building with its historical connections to World War 2, feminism, 40's architecture, & Mississauga development deserves to be saved, and used well. It embodies one of Mississauga's most exciting historical stories.

The Negatives? We're not in there..yet.

Mississauga Grows up. A story of hope for artists. Ending Unknown.

My city, Mississauga, located in Ontario, Canada,  is  a new city - only 30 years young. It is remarkably, for being so young,  Canada's 6th largest city. It has many wonderful attributes - a diverse, multicultural population made up of wonderful involved citizens and great neighbors, clean streets, safe environment, libraries galore,   terrific hospitals, varied work opportunity, and it is debt free.

What does this have to do with art?

Mississauga's past focus on rapid growth - from it's bedroom community image amongst farm fields, to a city with a spanking brand new skyline,  white collar industry,  and the largest  shopping centre east of West Edmonton Mall, is not a bad thing. Most people want a nice roof over their head and nice places to work and shop.

30 years ago to own a car and a suburban home was hot, and so this city was not built around culture, public transportation, and education. Attracting builders and developers and keeping the tax base low, thanks to them, was. Museums and places of art just weren't included in the equation.

The result? Rapid growth didn’t save room for all those quirky, interesting, and traditionally low rent spaces where artists of all sorts can set up shop to create, practice, incubate, mentor, promote, exhibit. There are plenty of places for children or hobbyists to take extracurricular arts courses of all types, thanks to the commitment of the city to create  community centres.  But for citizens, whose compulsion to create  is as vital to their existence as breathing,  are there are a lot of talented Mississauga artists out there, there is an extreme lack of venues to work, show, sell, create, perform, incubate etc. One must either leave, compromise,  or give up.

Then along came hope and the promise of Vision - for the Good of the City as well as its Artists.

3 years ago Mississauga, i.e., its Mayor Hazel McCallion, and Council did something rather amazing. Even though culture was not highest on their mandate, they recognized, (and the recent literature of the time proved) how cities need art and culture to be healthy . Mayor McCallion , in particular , is infamous for her passion for the city. Like a devoted parent, she decided that if her city needed arts and culture to grow, even if it wasn't her thing in particular,  she would do her darndest to help it.

Through an incredibly inspired and citizen inclusive process the following happened.

The Mayor invited unbiased, respected and knowledgeable movers and shakers to voluntarily serve on an Arts Review Task Force . ARTF held town hall meetings for every arts group & individual on what was negative &/or positive for the arts in this city. They listened. From this information, the ARTF formed a incredibly comprehensive report of recommendations for the city - one of the recommendations being the formation of the Office of the Arts & Culture. The Council accepted and lauded  the report. A momentous day, a foot in the door of hope for artists.

Next came the formation of the Office of the Arts and Culture (OAC). More listening to the arts community needs, some growing pains, a little reorganizing.

The OAC then hired the Canadian Urban Institute who held a free, incredible speakers series - "A Conversation About Building A City For The 21st Century" . This series offered attendees the opportunity to hear what different visionaries thought about Mississauga's future.

As an artist, and advocate for low cost art spaces for artists, I particularly liked the evening Dr. Roberta Bondar, astronaut, physician and photographer, shared the stage with Tim Jones, executive director of Artscape, a company specializing in building creative communities. My optimism for the arts and  Mississauga itself actually grows.

Next, Mississauga citizens - yes, everyone!- were invited to attend workshops, and round table discussions about how they viewed their city.  They got to speak their minds on exactly what it is they wanted.

In 2009, the UIC, after more calls to the public and arts communities,   made bang on recommendations for the OAC to create their strategic plan. This plan will be presented to Mississauga Council on April Fool's Day, 2009. Surely, this inspired visioning, offering such hope to the city's arts community will not turn out to be a trick.

Napkin Art - Taking Stock (everything's coming up roses)

I know I am not alone in being a doodler.  Nothing is safe - the newspaper, telephone book, napkins. If I have a pen in hand any sheet of paper is in danger of being obliterated by doodles.

Tuesday, as I ate lunch, I  mused (obsessed),  pen in hand,  on how best to move forward with my career.  To my surprise, this doodle  was much calmer than one I drew a while ago - me flailing between two pieces of bread, a palette where the lunch meat should go.  Of course, the doodling progressed to another napkin -  penguins in the shape of pink pearl erasers and and me naked doing fan dances with palettes instead of fans, but that's a whole other napkin.

Later that afternoon, thanks to Beaux-Arts Brampton artist Steve Wilson, I learned of a new art fair in Toronto, Art-2009. Thanks to the help of  a very affable organizer, I found myself, the proud inhabitant of Booth 465 0f the upcoming  Art 2009, May 12 -14th, 2009, in the Toronto Convention Centre.

I wonder if the fact I used the good flowered napkin was a sign ?

Mini Art Lesson Next Step Underpainting to Blocking in Colour for Oil painting

"Wishing It was His Turn To Go"Christine Montague 2009

"Cat Mysteries- The Visitor""Blocking in Color Copyright Christine Montague 2009

"Wishing it Was His Turn To Go" At this stage, I am adding color to the monotone under painting (see previous blogs). Some artists complete small color studies before they begin their work, but I am figuring out my palette as I go. The teal in the screen door at the right will compliment the  with the yellowish bricks on the right. The reddish brown of the upturned picnic table and houses across the street will compliment and play against the greens of the grass and figures t- shirt. Because I didn't have the tonal values properly worked out in the under painting (remember I forgot to stain the panel for my mid  tones)  adding this light layer of colour did not improve the situation. As well as I painted quickly I have lost a lot of detail - like the birds and fence posts. Not to worry- details are like the cherry on the cake - saved for last, rather than first.

Tomorrow, I will add some more detail to the person- I want to start "connecting" with him by bringing him into more into focus, & making him more real to me (like developing a character when you write). I also want to get that division of dark and light in there. When i squint at the painting the "L" shape (an L on its back) of the deck railing , t-shirt and screen door should be very dark - in shadow. The band of fencing should be lighter- more mid tones. The "L" (and L facing down) of the brick wall and sky should be light. I also want to get the birds placed back in .

"Cat Mysteries- The Visitor" Still in the mood to paint, and should be removing my artist cap for chief cook and bottle washer with four hungry people arriving home expecting their dinner, I quickly dash out the darks and some of the colour for Cat Mysteries. More fun than more serious subject and detailed work, that's for sure!

Mini Art lesson: Drawing to Underpainting. Christine Montague Oil painting "Wishing.." Begins

Do you ever wonder how one begins a painting?  Here are the first steps of my  painting  in progress now. Anxious to start painting "Wishing it was His Turn to Go" ,    and not interested to make my own canvas (the image is a not to standard canvas size), I ordered a Fredrix, artist museum quality primed linen board that I could cut to size.  Bought online, the statement "hand-primed pure Belgium Linen sounded good to me.  But when they arrived approximately a day later, I was surprised to see the warning, in caps,  that includes .., EXPOSURE MAY CAUSE HARM...NERVOUS SYSTEM, KIDNEY OR BONE MARROW DAMAGE. Wash ahnds immediately after use. When using so not eat, drink, or smoke. (shouldn't do that when oil painting anyways). Wear an apron (what kind?! a lead one?)  .

Oh, my.

Still, onward.

The first step in transferring my drawn image is to tape a sheet of tracing paper over the image. I carefully draw the  outline edges first. This serves as my registration reference.

Next I do an outline drawing fof the image. I do not bother with any shading. In this case I draw quite carefully. I like the original drawing and do not want to leave impressions on it by pressing too hard.  I include all major detail as there is a fair amount of detail in the original image that I do not want to loose.

I  tape the traced drawing onto the linen board & slid a sheet of graphite paper between the two layers.  I had not yet cut the board to size and so had extra space on which to tape. I was grateful after I did this. I usually work on gallery mount canvas (canvas with a deeper profile) that I do not frame. That I had not yet cut the board let me add a 1/4" around the image to accommodate for any frame overlap.

Here is the transferred drawing.  Somehow , in the using the new board, I have been thrown in my process. For an under painting I usually stain the surface first. If I do it at this step, it will dissolve the graphite drawing. Staining gives me a mid tone to work from. I remove the paint for my lights, and add to it for the darks.  Now, as much as the drawing and redrawing in the above processes helps me really know my painting, so I paint with  confidence,  I don't really want to be that confident, and start the whole process again!

Here is the tonal values of the painting.. Not as well defined as normal due to the lack of staining , but enough so I understand what is going on with the piece when I begin to paint with colour. I did the under painting in Old Holland Classic Oil Colours Burnt Sienna. Note: I found the oil gesso on the linen board very different to gesso on pre purchase canvas. It was shiny and almost acted as a resist.  Also, because I had not precut the board or sealed it with a stain, my hands had been in constant contact with the board. Remember the lead warning at the beginning?