Category: features

by Roy Bernardi

The modern.toronto: The Ben Woolfitt Foundation Reopens With a Fresh Look and a Bold Celebration of Abstraction

After undergoing a complete renovation, the modern.toronto is preparing to reopen its doors at 230 Niagara Street with a grand reopening celebration on September 12th at 2:00 p.m. The newly transformed interior features more wall space and a clean, refocused aesthetic designed to put the artwork—and the experience of viewing it—front and centre.

The work of Ron Shuebrook and Steve Rockwell will be showcased, two artists whose work reflects the spirit of experimentation, energy and visual exploration at the heart of the modern.toronto.

For a museum devoted to non-objective abstract art, the transformation of the space is more than cosmetic. More wall space means more room for art to command attention, while the newly refined interior creates an uncluttered environment in which visitors can spend time with the work. It is a fresh setting for a long-standing artistic mission.

A New Look for an Unconventional Art Experience

The modern.toronto is a not-for-profit organization dedicated to educating the public and increasing the public’s understanding and appreciation of the arts. Its focus is distinctive: the museum exhibits and promotes modern visual art in the form of non-objective abstract art, presenting works by Canadian artists whose practices are innovative and influential.

The newly renovated space reflects that philosophy. Clean lines, additional wall space and a more focused interior allow the artwork to take centre stage. Visitors can move through the gallery without visual distractions, giving each work the opportunity to make its own impression. And with abstract art, that impression can be remarkably personal. There may be no recognizable landscape, portrait or object to explain what a viewer is supposed to see. Instead, colour, line, shape, texture, movement and gesture become the vocabulary.

“The question is no longer simply What is it? It becomes What does it make you feel?“

Looking Beyond the Familiar

Non-objective abstract art—or abstract expressionism—is a post-World War II genre of art that is nonrepresentational and improvisational. The style characteristically depicts non-organic images in an unstructured space, emphasizing emotional expression and technique. For audiences unfamiliar with abstraction, the experience can initially be challenging. But that uncertainty is also part of its appeal.

A single work can evoke movement, tension, calm, energy or emotion without depicting anything recognizable. Brushwork can become a record of physical action. Colour can establish mood. Layers and textures can reveal the process behind the finished piece. Rather than providing a single interpretation, abstract art leaves room for the viewer. That openness is central to the experience the modern.toronto seeks to create.

The grand reopening will showcase the works of Ron Shuebrook in the main gallery and Steve Rockwell in the front gallery, providing visitors with the chance to experience two artists within the museum’s revitalized setting. Shuebrook is an abstract artist, a distinguished educator, and a writer whose works are included in the collections of the National Gallery of Canada, the Art Gallery of Ontario, the Art Gallery of Hamilton, the Beaverbrook Art Gallery, and the Art Gallery of Nova Scotia, among others. Rockwell, a long-established artist, writer, and publisher of dArt International magazine, views his publication as an extension of his artistic expression. Rockwell is a significant figure recognized throughout the art community and will be showcasing his newly created abstract forms. Their work provides an ideal introduction to the kind of artistic dialogue the modern.toronto is committed to encouraging: art that asks audiences to look closely, consider technique and engage with the emotional and visual possibilities of abstraction. With the renovated gallery offering more space to display the work, visitors will have an opportunity to experience the exhibition in an environment designed to allow the artwork to breathe.

A Different Kind of Museum Visit

The modern.toronto occupies an interesting place in Toronto’s cultural landscape. It is not simply a place to walk through, glance at a painting and move on. Abstract art rewards attention. The longer a viewer spends with a work, the more details can emerge. A seemingly simple composition can reveal layers of colour. A spontaneous-looking gesture can expose extraordinary control. An arrangement of forms can shift depending on where the viewer stands. That makes a visit to the modern.toronto an active experience. By increasing public understanding and appreciation of the arts, the organization hopes to encourage audiences to engage with modern art rather than feel intimidated by it.

“You don’t need to be an art historian to have a response to a painting. You simply need to look.”

A Not-for-Profit Powered by Community Support. The modern.toronto is also committed to maintaining its work as a not-for-profit cultural organization. The museum gratefully accepts monetary donations and will issue a Charitable Donation receipt in return. Community support helps the organization continue its mission of exhibiting innovative and influential modern art while educating and engaging the public. As the museum enters this new chapter, that support becomes particularly meaningful.

Located at 230 Niagara Street in Toronto, the museum will be open to the public every Saturday and Sunday from 12:00 p.m. to 5:00 p.m. For longtime supporters, the reopening offers a chance to see a familiar institution in a completely new environment. For first-time visitors, it is an opportunity to discover a museum with a distinctive point of view. The walls may have changed. The space may be cleaner, brighter and more focused. But the invitation remains the same: Come in. Slow down. Look closely. And experience modern abstract art for yourself.

On September 12th the modern.toronto opens a new chapter—one with more space, a renewed sense of purpose and the work of Ron Shuebrook and Steve Rockwell waiting to be discovered.

Interview by Phil Anderson

The Interview questions with Propeller Art Gallery were answered by Tiffany Duong, Susan Ruptash and Anna Dopico, the organizers of the Propeller 30 Exhibition (PAG). Interview questions by Phil Anderson (PA).

PA: Congratulations for the Gallery’s 30th Birthday. Besides the Propeller 30 exhibit are there any other celebrations to mark your 30th anniversary?
PAG: The biggest one is that our Board Secretary and Exhibition Co-organizer, Anna Dopico, has written a fabulous book commemorating our first 30 years.
You can see a copy in the gallery, or read more information here. We also made T-shirts using the logos designs by our long-standing member, Keijo Tapanainen.

PA: What would you say was the biggest challenge that the gallery has faced ? I am guessing it might be the receivership of Artscape.
PAG: Certainly the day we learned that our landlord Artscape was going into receivership was one off the darkest days for us. But the gallery has faced other challenges in the past as rents rose on Queen West and financial uncertainty loomed from time to time. The resilience and bravery of the founding and past members gave us the resolve to dig deep and save the gallery.

PA: Have you noticed any changes in the Gallery when it turned into a co-op Gallery?
PAG: We have been an artist-run Not for Profit organization since inception. Being artist-run means that each one of our members feels a pride and responsibility to each other and to the gallery as an enduring entity.

PA: What are the new challenges facing the gallery?
PAG: We want to continue to diversify our membership and attract a wide range of artists. We also want to continue to expand our connection with the general community. As the gallery continues to attract more interest and more submissions, managing the workload of our volunteers and employees remains an ongoing issue.

PA: You asked your members to reflect on what Propeller means to them. How did they respont? You will also have an Open Mic day on Sunday.
PAG: Our Open Mic happens this coming Sunday September 6 and we are looking forward to hearing the stories. We hope you can join us!
As part of the current exhibition, we asked artists to reflect on what Propeller means to them, and it was very touching to read how many artists have been deeply affected by Propeller throughout the years. There is also a printed copy of their opinions in the Gallery.

PA: What are your observations in the changes in the local Toronto art scene?
PAG: The financial realities of Toronto make it a serious challenge for emerging artists to find spaces to exhibit. We are proud to be one of the long standing artist-run galleries, and our role in offering a space and a community for artists.

PA: There were a lot of great art works on display from both alumni and current members. What were the challenges for the organizers of this exhibit?
PAG: We worked hard to reach out to as many of our Alumni as possible and we are thrilled with the response from both current members and alumni. We had no idea how many artworks we would get. The absence of a specific exhibition theme could have meant a challenge to curate the works into a cohesive exhibition, but Tiffany Duong, one of the co-organizers, did a masterful job in arranging and organizing the artworks.

PA: I remember the original space at 96 Spadina. Your current space is a vast improvement. Are there any plans in the future to change the current space?
PAG: With the assistance of an Ontario Trillium Grant, we are undertaking some renovations later this year to improve the accessibility of the gallery. We want to be welcoming to everyone.

PA: Propeller members must feel a weight off them now that they own their space. I think it was a stressful time fundraising and making that happen.
PAG: It was stressful at times, but we never gave up hope. Once we resolved to try to save our space, everyone worked hard to pursue every possible avenue. At the same time, we believed that even if we were not successful, Propeller would continue in some form. We were not going to let Propeller end on our watch.

PA: Are there any particular exhibits coming up that you are excited about?
PAG: Our annual fundraising event in December, Off the Wall, is so much fun and a highlight in our year. Our fall programme includes great pairings of members, both newer and long-standing, including a few small group exhibitions. Our first exhibition of 2027 continues our tradition of supporting our Emerging Members with an exhibition. For the first time, we are including our New Members as well.

Images are courtesy of Propeller Art Gallery
*Exhibition information: Propeller 30 / Anniversary group exhibition, August 19 – September 6, 2026, Propeller Art Gallery, 30 Abell Street Toronto. Gallery hours: Wed – Sat 1 – 5:30 pm, Sun: 12 – 4 pm.

by Emese Krunák-Hajagos

When I walked into Zsolt Ferenczy’s large studio in Miskolc (Hungary) I was surrounded by large paintings and drawings that caught my attention with their vivid colours and unique figurative. I fell in love with It’s time (Itt az idő, 2020) at first sight. A very challenging work, with many layers of meaning, that invites endless possible narratives. I think this painting encompasses all of Ferenczy’s painterly symbolism and creative methods.

Let’s start with the animals that appear in his works. The monkey is an important one, recurring in many of his paintings. The one in Dark Material (Sötét anyag, 2020) refers to Frans Jansz Post’s painting View of Olinda (1662). It takes us to the Dutch colonies of Brazil. Post depicts a beautiful landscape with exotic animals. Ferenczy’s starting point is also a landscape but a very different one that is urban and imaginary at the same time. The monkey from Post’s painting is leaning against a red metal dumpster. His body is almost human with a sarcastic smile on its face. Exotic birds fly over palm trees and rich vegetation. The purple material—the ‘dark material’—seems to be solid and porous at the same time. The purple shapes remind us of mountains. But what are they really? Are they man-made or did they come from somewhere else? Are they nuclear and dangerous or just a byproduct of some digging?

The sky is also mystical. The layered pink cloud-shapes seem to move upward. It could easily be the smoke from a nuclear explosion. The colored stripes in front of it might be ‘fences’ trying to separate the two worlds to protect us. There is an idyllic forest in the middle of the composition contrasted by the red dumpster with the dark material and the pink clouds. A weird, foreboding environment.

Figures are central elements in Ferenczy’s paintings. His research for his paintings is very sophisticated. He has wide and varied interests that seemingly don’t relate; deep, updated knowledge in anthropology, history (both natural and human), art history, stories of animal and human mutations, among many other fields. The series called Bestiary (2019–2020) include pieces containing images of human evolution and mixed races (casta) entitled The Burden of the Past. Iceman (Jégember, 2019–2020) is a reconstruction of the face of a creature we know as a Yeti or Bigfoot. A very tall and large-footed being, who reportedly has been seen in various places on Earth. The portrait is very dramatic, the black ink flows over the surface, the dark eyes, hair and beard suggest the hidden nature of the creature. What makes this series even more interesting is the cardboard base. Cardboard boxes are used in the transport of goods. Ferenczy “considers the box to be an important symbol of global trade.” Then, after they fulfilled their duty, they get discarded. The artist pinpoints the similarities between the fate of those boxed and creatures that are extinct or on the verge of extinction. He reconstructs some of them, like the Tasmanian Wolf, among other mutated animals, like a two headed sheep.

History, especially Hungarian history, is challenging to comment on, especially when it comes to—and it always does— talking about the fight for freedom. In the 19th century the Habsburg Monarchy ruled Hungary. Their high taxation interfered with the developments of Hungarian agriculture, animal breeding and industry. To show their resistance, Hungarians dressed in the traditional outfits of mounted horse-herdsman (csikós), including baggy pants (bő gatya), long coats ofter lined with fur, fur hats (kucsma), peaky hats (csákó), and carried a sword and spoke Hungarian. It was meant to show their resistance. The figures in Horsemen gathering bombs and The Rebel wore those traditional clothes and actively engaged in the rebellion that came to a conclusion in the war of 1848 against the Habsburgs. They are forboding images. We can feel that death is at the gate. The compositions are almost fairy-tale-like. In both paintings, the figures are elongated, giving them some eerie, magical appearance, wearing traditional Hungarian clothes as symbols of their political stand. The landscape is the great Hungarian Plain but we can’t really recognize it as it is modified to tell the story. There is a hyena who feeds on carcases, at the feet of one of the horsemen in The horsemen gathering bombs, snakes are fighting at the top of a flag. The bomb (that didn’t exist at that time) is on the ground. The Rebel is mounted on his horse, holding a sword, ready to fight. There are both peaceful (the resting deer) and worrisome (the agitated swan) animals around him. We face the dangerous pink clouds again and bombs are falling from the sky to destroy this budding rebellion. Pink/red light radiates from the rebel’s head, giving him the status of a hero.

As I mentioned earlier, I saw It’s time as a conclusion of Ferenczy painterly symbolism. Beside a Tisza-type boat (Tisza is a large river in Hungary) a boy in a peaky hat stands. There are animals around the boats, rabbits jumping playfully, a lizard, a deer looking into the distance, and a seagull flying above. In our world of environmental issues like global warming, forest fires and floods as well as political uncertainties, we never know what’s coming. We don’t know where the issues are coming from, what or who caused them, but disasters are coming for sure. This boy, like a “New Noah” is waiting for it to happen, possibly a flood, but there is no water rising yet. Everyone is waiting and ready. The animals are nearby, the two monkeys, like sailors are waiting. It is the quiet moment before the storm. The sky behind reminds us of the sky in Dark Material. Ferenczy wrote: “The sky always shows a different formation than the sphere below, but there is always something that connects the two. I borrowed the floating shape from astrophysical models that illustrate the motion of the black holes or galaxies. The danger, the sign of times, always appear in the sky …” Indeed, it does. The red shapes might be fires burning with dark smoke, while the blue, like exploding splashes of water that will rise and endanger everything. When it happens, the birdhouse is the only hope, the symbol of home, a way to escape from danger, and a chance for survival.

Like a crown, there is a purple atomic shape hovering at the very top of the composition, inviting the future into the upcoming catastrophe. Is it only observing? Or is it there to help or give us some hope? We don’t know. It’s like a poem. You don’t have to understand every motif to relate to the story and enjoy the vision.

by Emese Krunak-Hajagos

The Graphic Arts Triennial in Hungary, takes place in a beautiful city in the mountains of the Bükk Nationale Park, Miskolc. The triennial started as a biennial 65 years ago, in 1961, then for several reasons, financial and organizational among them, turned into a triennial. For a North American reader 65 years sounds almost unbelievable. It is not an international show or art fair, but a Hungarian art event. In today’s rootless world glazed in international veneer, this is a major accomplishment, a triumph of Hungarian art and perseverance.

Reproduced graphic art was always a European genre—think of Dürer’s and Rembrandt’s work. It has been flourishing from the 19th century to the present day within Central Eastern Europe, in Hungary, Germany, Poland, Slovakia and the Czech Republic. The genre has endless potential as both the message and the technical implementation harmoniously capture the possibility of constant renewal.

Because of the 65th anniversary there are two large exhibitions. One, titled Sixty-Five, is at the Herman Ottó Museum, showcasing all the Grand Prize winners from the very first year till today. The Museum’s rich collection shows an emblematic picture of 20th century Hungarian graphic art. It is a very interesting and entertaining exhibition where visitors can follow the historical, thematic and technical developments of reproduced graphic arts.

The Miskolc Graphic Arts Triennial 2026 fills all the rooms of the large Miskolc Gallery. Visitors first see the exhibition of the previous triennial’s Grand Prize winner, Tamás Felshmann’s, titled Architectural Heritage. At first sight I thought that I was looking at historical pieces of architectural plans or illustrations. The works are very impressive, large-sized and captivating. When you start looking at the details you want to know everything about the whereabouts of the buildings, their locations, originality, the architect’s name, how they were built and why and how they are depicted in this way. It is a unique show of majestic buildings. We can identify some basilicas, like St. Peter’s in Roma or St. Mark’s in Venice, while others depict public places, all representing our historical heritage through architecture. Buildings depicted by dark lines, grey surfaces or white, empty areas are perfect replicas of the original buildings. Still there is something more to them. Felschmann seems to add a magic touch that turns the buildings into something dreamlike, so even while they are real and proportionate, they turn into something beyond it, a heavenly place. The Basilica series, greyish drawings of symmetrical facades, sometimes with a drop of color, are spiritually intense. Even when the pieces are dark, they still radiate beauty and harmony. You can see that these works have been done by a perfectionist. Everything is painstakingly correct, but still spiritual and nostalgic, showing a bygone era creatively transferred to another age.


On the second floor, the largest room of the gallery showcases the award-winning artworks. Grand Prix winner Miklós Kelemen’s (Municipality of Miskolc Grand Prize award) Unfinished sculpture is both a commemoration and a tribute to the art of his sculptor grandfather. The large-sized work, composed of 9 prints, is very powerful. It depicts the creation of a large sculpture of a horse, maybe intended to be in a public square, following the old technique when the artist built a wood frame at first. We can see that wood structure is tied together with ropes. The surface of the wood panels and the texture of the ropes are beautifully drawn with sensitive lines and deep shades.

Tamas G. Kovács’ (Hungarian Academy of Arts Special Prize) biblical triptych is challenging both thematically and visually. While recognizing the narrative (The annunciation, The moment of birth, Massacre of the innocents) I hesitate about how to interpret it. Is it satirical or AI focused? There are robots with other AI elements in each composition, as well as mythical monsters mixed with machinery parts. There are many layers. The top (heaven?), the middle with the actual action, and something is also happening underground where they are digging a mine with strange machinery. Is it a religious composition or a set of tarot cards? Hard to say, but either way it is interesting. You can’t overlook it.

There are numerous young artists (more than 20% of the participants) in the triennial, Orsolya Cseh (Hajagos Imre award) among them. What is remarkable in her linocut, titled Wedged into my words is the way she depicts her motifs. On the left side of the composition is a large figure facing a ball-like thing with thorns, a bent tree, some vegetation on the ground and maybe animals. There is a crossroad in the foreground and a bicycle on the ground. What kind of world—imaginary or real—does the artist travel? The strength of this piece is the making of it, the linocut, that allows such a rich surface. The curving lines, the various patterns, the strong contrasts of black and white elements create a rich, expressive composition.

Anikó Csonga Kovács (Hermann Ottó Museum – Miskolc Gallery award) depicts a woman warrior in a Japanese fighting position. Titled Individual, she is alone and faceless. It seems that she is in a chemical war, with a container on her back connected to a tube that will shoot out the liquid. This is a linocut on layered plastic sheets that gives it a 3D feeling.

Mátyás Boros (Szabadkéz Gallery and Art Colony award) creates a composition in Totem 2, that mixes graphical and sculptural elements into a unique print installation.

The triennial is a huge exhibition with 114 artworks by 69 artists. We live in an age of rapid technological advancements, and the field of reproduced graphic art is no exception. New design genres emerge at a record pace only to lose their dominant role just as swiftly. This is the case with electrography, which used to appear in significant quantities, but this year its presence is negligible. The call for the triennial allows for a wide range of techniques, whether it is traditional or new and experimental. During my conversation with curator Ábel Kónya, the potential involvement of artificial intelligence was discussed, which clearly showcases that the organizers are open to new methods of implementation.

I was somewhat surprised by the large number of artworks that follow traditional techniques requiring academic training. The Hungarian University of Fine Arts has an excellent Graphic Art Department that most of the exhibiting artists attended or attend as the triennial allows students to enter their works. A good example of this a third-year student, Veronika Fürstand’s piece, Only I can truly understand. It is a beautifully lyrical composition, where a tiger comforts a girl by licking her face. Love and empathy don’t have borders.

Prominent pieces within the traditional category include the sensitive, figurative, soft-ground etching compositions of János Barta (Hungarian Graphic Artists Association award). Réka Dobi’s series, From late Night to early morning are outstanding images with their sensitive depiction of the various stages of sleep, waiting for it come, dreams, even nightmares and total escape from reality. Mietta Kerper’s woodcut guides us into a rhythmic rainy night, where red figures covered with various patterns walk along the road. It has strong painterly qualities and creates a meditative atmosphere.

However, this does not mean that experimental works are neglected. Several works refer to their unique techniques and implementation methods, such as in the case of Zsolt Durucskó and Dániel Lebeda, which encourage the viewers to figure out the methods used. Electrography is still present; examples include the works of Péter Berentz and Zsuzsanna Enyedi.

The exhibited works of the 2026 Miskolc Graphic Arts Triennale give a remarkable picture of the contemporary Hungarian graphic arts. It shows the thematic deepness and technical variety of the artists of our era. It also paints a true picture of social situations, political movements and changes, outlines everyday life and the psychological responses of people. Rich narratives and strong expressions always were and still are the main characteristics of graphic art. This positive outlook, both in terms of themes and techniques, I believe is one of the main reasons behind the genre’s survival. In Hungary graphic arts still flourish and will have a long and wonderful future.

Images are courtesy of Miskolc Gallery. Photo: János Ádám

Miskolc Graphic Arts Triennial, 2026, Miskolc Gallery, 2 Rákóczi Street, Miskolc and Sixty-five, 28 Görgey Artúr Street, Miskolc, Hungary, both May 9 – August 9, 2026