Notice Board


Current notices

There are no notices at this time.

Today's notices

  • National Oil and Acrylic Painters Society 2021 Spring Online International Exhibition

    Location: Windsor, ON

    The National Oil & Acrylic Painters’ Society (NOAPS) invites oil and acrylic painters..
    View notice

  • Lebel Mansion Gallery Call for Submissions for 2022 Gallery Season

    Location: Pincher Creek, AB

    The Allied Arts Council of Pincher Creek strives to host thought-provoking exhibitions that..
    View notice

  • Seeking Instructors - EdVentures Online

    Location: Fredericton, NB

    Call for Instructors Proposals Due March 5th 2021 The NB College of Craft & Design..
    View notice

  • Large Works

    Location: Truro, NS

    Our annual winter show of large works is now on display at the..
    View notice

  • Exhibition: RE-EMERGENCE

    Location: Calgary, AB

    WE’RE BACK!! After a long and lonely year, 2020, Carbon Point Gallery and it's..
    View notice

  • see “a village dreams” virtually

    Location: Toronto, ON

    Visit Gallery Arcturus – vicariously: “a village dreams” has installations by deborah harris -- Up..
    View notice

  • The Chelsea International Photography Competition

    Location: New York, AB

    The Chelsea International Photography Competition (CIPC) honors our gifted talents all over the..
    View notice

  • 12th Artist Spotlight Solo Art Competition

    Location: Palm Springs, CA

    Fusion Art is now accepting entries for the 12th Artist Spotlight Solo Art..
    View notice

  • 5th Annual Colors Art Competition

    Location: Palm Springs, CA

    Fusion Art invites submissions for the 5th Annual Colors art competition for an..
    View notice

  • 3rd Into the Wild Quarterly Art Competition

    Location: Palm Springs, CA

    Fusion Art invites submissions for the 3rd Into the Wild Online Art Competition. 2D..
    View notice

  • Call for Proposals: AGO X RBC Artist-in-Residence Program 2021

    Location: Toronto , ON

    Three paid digital residencies available in 2021. Deadline for submissions: March 10, 2021 at..
    View notice

  • Call for Artists

    Location: New Westminster, BC

    Are you a New Westminster-based artist with a body of 2D work, who..
    View notice

  • Call For Visual Artists-Boynes Emerging Artist Award 4th Edition

    Location: Melbourne,

    The Boynes Emerging Artist Award is an independent artist-run International 2D art competition..
    View notice

  • A Mysterious Attraction: A new spin on gravitational art

    Location: Port Moody, BC

    Meet the artists at a Virtual Opening Reception and tour of the exhibition. Edzy..
    View notice

  • $550.00 Innovate Grants — Call for Artists + Photographers

    Location: , FL

    Innovate Grant is now accepting submissions for the Winter 2021 Cycle. Innovate Grant..
    View notice

  • Beacon Original Art: Call for Submissions

    Location: Calgary, AB

    We invite emerging, mid-career and professional artists to apply to participate in our..
    View notice

  • Check Jooble for Art related Jobs

    Location: Ottawa, ON

    Looking for a job in the ARTS in Canada? We have thousands of..
    View notice


Ted Rettig: The Gift

By Gil McElroy November 11, 2002

} Ted Rettig: The Gift September 29 - November 25, 2002 Agnes Etherington Art Centre, Kingston, Ontario, Canada Ontario-based artist Ted Rettig is renowned for his limestone sculptures, works in which relief carvings of botanical imagery figure prominently. Less known are his wall-mounted assemblages, but it was ten years worth of these gaunt, ascetic works -six pieces in total-which comprised this exhibition at Queen's University, where he teaches. Rettig is sparing in his sculptural palette, combining and recombining the same elements in different works so that a resonant echo is set up within an exhibition environment. Black cord, tin cans, and white bricks all factor directly in a number of assemblages. Unknowing, shifting slightly in specifics, for example, comprises a large tin can run vertically through with a black cord suspended from the wall above it. Below the can a white building brick hangs from the cord courtesy an eye hook screwed into its corner. Atop one side of the brick is a small carved wooden bowl. In nothing doing, nothing known, gone fishing, gone home, a work in three parts spread horizontally across a wall, two pine cones hang from one line of black cord looped over two nails, a white brick protrudes from the wall with fine branches stripped of bark seemingly growing from its surface, and the ubiquitous tin can provides, in this instance, a spot for a wooden carving of the Buddha's head to sit. Image courtesy of the Wynick / Tuck Gallery Toronto, Ontario sleight of hand overtly links these assemblages with Rettig's earlier stone sculpture. Four wooden print blocks, each carved with the kind of stylized botanical imagery that distinguished his limestone pieces, are set in a horizontal row along a wall. From them hang identical solar calculators, suspended at the end of short lengths of black cord. The most complex piece here was also the single exception to the wall-hung rule. For Another construct, clear and not here, Rettig leaned two denuded trees trunks, each about five feet high and with all their branches cut back to short stubs, against a gallery wall. Each trunk functioned as an armature upon which objects were suspended, attached, or propped. The trunk on the left was adorned with a small bowtie television antenna, an old metal flashlight, metal drinking cup hung from the end of a short cord with small carved wooden figurine inside, a rock at the end of another cord, and several oyster shells screwed near the base of the trunk. Beside it, the other trunk sported (among other things) a small metal loop forming the symbol for infinity symbol and which echoed the shape of the tv antenna on the tree opposite, a carved wooden snake devouring its own tail, spiral sea shell dangling at the end of yet another cord, and a china plate screwed through the middle and into the tree trunk near its base. Though lacking the tactile, massive immediacy of his limestone sculptures, the lean mix of the natural and artefactual, the raw and the cooked, in Rettig's recent assemblages has an eloquence that reverberates and lingers like aftershocks long after the work has passed from view. This review originally appeared in Sculpture, April 2002. ___________________________________________ Gil McElroy is a critic, independent curator, artist, and poet currently living in Colborne, Ontario. His latest books are Gravity & Grace: Selected Writing on Contemporary Canadian Art (Gaspereau Press), and a book of poetry, Dream Pool Essays (Talonbooks). View Gil's curriculum vitae.