Press + Writings
I Like Your Work Podcast Studio visit
The Green Majority Podcast: Eco Artist Roundtable
Toronto Guardian: A Day In the Life with Toronto Artist: Julie Gladstone
Toronto.com : What to See at Gladstone's Grow-op
Azure Magazine: Grow Op in Toronto shows off Next Level Landscape Art
Gladstone Hotel Blog: An Extreme Weather Event in Gladstone Lobby
Fresh Collective Artist Profile
TA2 Sound + Music Artist Interviews.
Akimbo Connects. work in progress spotlight during Gibraltar Point Artist Residency.
July Artist Feature: www.mothersbasementgallery.com
Arts Effect catalogue curated by Jamie Angell
Mississauga News: Emerging Artists display contemporary works at LAC 03/05/16.
Julie Gladstone Portrait of An Artist Lumix Stories:
30 second video Film Artist Productions:
Photo News: Panasonic Portrait of An Artist, Winter Issue.
BlogTO: What To See at 2015 TOAE, Sept. 2015
The Canadian Jewish News, Eye on The Arts: May 2015
BlogTO: Top 5 Free events in Toronto May 25th - June 3rd
Notable.ca: Julie Gladstone: Today’s Notable Young Professional, May 27th
-Picturing The Americas Now on at the AGO, July 23rd
- Infinity Pool Opens in 2 Days May 26th 2015
Essay for The New Sublime: Paintings at the Edge of Nature April 18th. - May 6th. 2015
At gnstudio contemporary art we are delighted to present a solo show of powerful new paintings by award winning artist Julie Gladstone. In The New Sublime: Paintings at the edge of Nature, she has created a vital and compelling new response to contemporary landscape painting and the idea of the Sublime.
A view of nature as vast and infinite, an awe inspiring majesty tinged with a sense of trepidation - all this was central to notions of the Sublime during its Romantic era heyday between 1750 and 1850 in England and continental Europe. The writings of philosophers Edmund Burke and Immanuel Kant were key to this formulation and artists such as J.M Turner were key to its achievement in Painting. Yet beyond this period, the Sublime has continued to influence art.
The key Canadian response to the Sublime came in the early 20th century with the paintings of Tom Thompson and the Group of Seven. Then from the 1960s, nature began to be seen more through a prism of social, cultural and political factors, and so for example, the vast sublime vistas of nature by American photographer Ansel Adams gave way to the work of contemporary Canadian Photographer Ed Burtynsky, who has focused on the effects of human intervention in the natural landscape.
Julie Gladstone's paintings build upon a notion of the Sublime that recognizes human intervention on the landscape, yet expresses that sense of yearning for beauty that has always been central to the Sublime. Her achievement is that she fuses a sophisticated abstract painting language that is formally innovative with a re-invigorated view of the Sublime, which integrates consumer culture and it's detritus with Nature. In doing so, she helps redefine what beauty in landscape can be in our contemporary world.
Artscape News: By Karen Whaley: “Artscape Award Recipient Julie Gladstone Wins Big”
Sept. 30th, 2014
FSU Museum of Fine Arts, 2014 Tallahassee International Juried Art Exhibition Catalogue
curated by Jean Young August - October 2014
The Canadian Jewish News, Eye on Arts. “Artists Win Prizes in Toronto Outdoor Art Exhibition” July 24th, 2014
Notable.ca by Erin Davis: Artist Profile of Julie Gladstone and Review of
“The Sky is Falling”, November, 2013
(Julie) explores the line between beauty and destruction and our fascination with disaster and apocalyptic fantasy. With an infusion of eye-popping colour, including a somehow-soothing neon, Gladstone’s chosen forms include clouds, raindrops and waves; a deconstruction into abstractions as objects are reduced to their essence.
Toronto Star: Art at 26: Two Toronto Artists help to make art around the Hearth,
Canadian Architect: The Annual: Shifting Ground at the Gladstone Hotel, October, 2013
Blog TO: The Best New Galleries in Toronto, December 2013
View on Canadian Art, By Andrea Carson:“In The Studio with Julie Gladstone”
I immediately liked the unconventional colour in her work, lots of pale minty colours jolted alive with fluorescent spray paint and then brought together with strips of striped black and white. They look a bit like maps, and a bit like quilts.
May 2012 Plaid Magazine: Walnut Contemporary & Metaphysical Cartography
An interesting take on dissecting the urban landscape, Gladstone is inspired by what she sees during bike trips throughout the city and combines these landscapes to look like living, breathing, cartographic entities. Her vivid use of colour and layers of mixed media, and organic use of line and form create what MacDonald calls a “construction site through a kaleidoscope.”
November 2012 In Conversation with Canadian Art, By Trish Boon:
Like her earlier work, she remains concerned with topography, but has been focusing on the idea of maps as allegorical representations of life. With no routes planned out, Gladstone explains that maps are no more than labyrinthine projections of possibilities. Her current mammoth works seem to serve as Gladstone’s projection of not only random physical topographies, but also mazes of life’s moral challenges within one’s own spiritual quest. Gladstone has been pushing the boundaries of her creativity by creating massive paintings (ie. 7’+). It’s not surprising to see a personality such as Gladstone’s working on such a formidable scale. Her explanations behind her abstract concepts reflect the constantly wandering mind of a philosopher.
Fiasco Magazine. UK Photo shoot with Greg Swales featuring Julie Gladstone paintings.
Blog TO: Walnut Contemporary, December 2012
View on Canadian Art, By Andrea Carson:” A Visit to Walnut Street Studios” December 2012
Artsync.ca- 120 Seconds with Amanda MacDonald, October 2012
Life of “By : Review of Walnut Contemporary Launch, October 5th, 2012
13th Annual Varley Fine Art Auction Catalogue
Provocative Penguin: “Let the Paint Fly”September 2012
Trish Boon: In Conversation with Canadian Contemporary Art “Featuring Julie Gladstone” June 22nd,
“For Gladstone it seems as though the very act of painting is mimicry of the cycle of change in the urban environment. What started as an exploration of decay has become more about becoming.
Imagine the painter engaged in the supernal chronicling of the ever-evolving assimilation and reincarnation of copious random visual stimulus around her”
Artists Business Digest. Arts and Upstarts, By Morena Media: “Profile of Julie Gladstone”
The Toronto Star. Entertainment Section “Brush with Greatness.” October 10th, 2010