Curated by Leonardo Regano
The Loneliest Animal. L’animale più solo al mondo. Un essere unico e leggendario, che si presenta a noi così diverso da ogni altra specie conosciuta. Nessuno l’ha mai visto prima, nessuno conosce le sue intenzioni. Sperduto e impaurito, ci osserva attento, nascosto tra i cespugli di un giardino rigoglioso (Eunuch Tapestry 4, 2014); un eden fitto e traboccante di vegetazione, dove neanche la luce riesce a passare tra le fronde dei cespugli. Alberi e piante si combinano in una coltre impenetrabile in cui si perde ogni riferimento al dato spaziale e che ci riporta a un senso della flatness tipico delle pitture e dei disegni della tradizione tardogotica europea, a quegli hortus conclusus e a quei giardini delle meraviglie che impreziosivano le rappresentazioni sacre come quelle profane. Uno stile accurato ed elegante, che non nasconde il suo debito nei confronti dei grandi maestri dell’arte rinascimentale nordeuropea, e verso il Dürer in particolare. Una natura ready-made, che Zachari Logan (Saskatoon, Canada, 1980) “raccoglie” grazie al mezzo fotografico durante i suoi viaggi in giro per il mondo e che rielabora in un ordine spesso biologicamente incorretto, combinando specie diverse tra loro in unico esemplare, in un ricercato effetto di straniamento che aumenta così il senso della meraviglia e del fantastico nella sua opera, che resta così in bilico tra il vero e il verosimile. Pian piano quello strano animale solitario prende coraggio e si avvicina a noi: il Wild Man (2013) si mostra nella sua interezza. Nelle sue parvenze insolite, esso è il simbolo di quell’unione mitica tra l’essenza umana - l’uomo, l’animale perfetto - e quella divina della Natura - che genera e in sé ospita la vita. Nel suo corpo conserva la memoria di questo legame, in quella straordinaria varietà di fisionomie animali e vegetali che lo compongono, racchiuse in un aspetto dalle chiare sembianze umane. Come un satiro primordiale, il Wild Man di Logan impersonifica la fertilità e la forza vitale della Natura, seppur privo di ogni atteggiamento lascivo e gaudente. Esso è più simile, in realtà, a un guerriero, ritratto a riposo ma sempre pronto all’azione, colto in un atteggiamento da novello Apollo, il dio greco assunto a modello per la bellezza maschile eternata in forme classiche e composte. E Zachari Logan riscopre proprio la bellezza del corpo maschile come elemento fondante della sua creatività. La corporeità dell’uomo è così messa a confronto con la perfezione e la mistica delle forme naturali. Ma non si tratta di un riferimento generico: Zachari riproduce sempre e solo il proprio corpo.
The Loneliest Animal. The loneliest animal in the word. A legendary and unique being which presents itself to us so differently from any other known species. No one has seen it before, no one knows its intentions. Lost and frightened, it watches us carefully, hidden in the bush of a luxuriant garden (Eunuch Tapestry 4, 2014); an eden of dense and overflowing vegetation that not even the light gets through the thick shrub. Plants and trees entangle themselves into an impenetrable layer where one loses every reference to spatial data and brings us back to that sense of flatness typical of paintings and drawings of the European late-Ghotic tradition, to those hortus conclusus and to those wondergardens that embellished sacred representations as well as profane. An elegant and accurate style without concealing its debt to the great Northern-European masters of the Reniassance, especially Dürer. A ready-made nature that Zachari Logan (Saskatoon, Canada, 1980) “harvests” thanks to the photographic medium during his travels around the world and which he often re-elaborates in a biologically incorrect order, combining different species into a unique specimen, by a sophisticated effect of estrangement thus increasing the sense of marvel and fantasy in his work that remains hanging in balance between real and plausible. Slowly that strange lonely animal acquires courage and approaches us: in Wild Man (2013) it shows itself in its entirety. In its unusual semblances, it symbolizes that mythical union between the human essence – the man, the perfect animal – and Nature’s divine one – which generates and in its bosom hosts life. In his body is preserved the memory of that bond, in the compound of that extraordinary variety of animal and vegetal appearances, enclosed in an aspect of definitely human look. Like a primordial satyr, Logan’s Wild Man embodies Nature’s fertility and vital forces, albeit deprived of any lascivious or pleasure-seeking attitude. In reality, it’s more akin to a portrait of a warrior, resting now but ever ready for action, caught in the pose of an all-new Apollo, the Greek god taken as the model for eternal male beauty in classical and composed forms. And Zachari Logan precisely rediscovers the beauty of the male body as an essential element of his creativity. Thus, man’s corporeity is compared to the mysticism and perfection of natural shapes. But it is not a generic reference: Zachari always copies his own body.
Nudo e offerto allo sguardo dell’osservatore fin nel minimo dettaglio, l’artista si autoritrae senza mai scadere in un’autocelebrazione narcisistica ma calibrando attentamente il ruolo del suo corpo nella composizione, scelto come elemento di paragone universale tra micro e macrocosmo, tra il sé, intimo, e l’infinito collettivo. Un rapporto di unione rituale, quella tra Logan e la Natura, che a tratti sconfina nel religioso (Duality #1 Abraham & Isaac, 2012). Nelle immagini - spesso di grandi formato e a grandezza naturale - la prorompente fisicità dell’artista canadese ci riporta alla mente l’idea di un corpo schiettamente contemporaneo, reale, lasciando l’osservatore nella dualità del suo inserimento in scenari arcadici, e per questo ideali, privi di ogni connotazione concreta e temporale (Vignette, 2011). Un corpo riprodotto nella sua integrità, che si contamina lentamente con il dato naturale che lo circonda. Proprio lì, sotto i nostri occhi, Zachari si trasforma. Solo ora capiamo la vera origine del Wild Man. Corpo e natura che si uniscono e si completano mutandosi in questa nuova entità sconosciuta. Un’evoluzione tracciata nella serie degli Enigma (2012). Un braccio che si ricopre di fiori e di foglie, che nutre e genera insetti portatori di vita e bellezza (Enigma #4); una gamba da cui germogliano viole e sui cui si posano gli imenotteri (Enigma #5); il volto che a stento si scorge, colto in un groviglio di rami intrecciati da piccoli uccelli che trovano ristoro nella sua barba (Wild Man. Avian, 2015). Zachari è ormai quasi totalmente scomparso, fuso pienamente nel dato naturale che lo ha avvolto (Stick-man, 2011). Con il Wild Man, Zachari Logan porta alla luce quel “sapere originario del mondo”, di cui parla Merleau-Ponty, e che per il filosofo francese è insito in ognuno di noi, nella nostra carne e nella nostra corporeità, in cui resta indelebilmente impresso come forma di “sapere latente”. Questo sapere non è altro che il patto originario tra noi e il mondo naturale, uno stato di unione e comprensione che ci ha originato e che sembra perso nella nostra contemporaneità. Ed è, in fondo, da questa perdita che si genera il senso della nostra solitudine e di cui ci sta parlando Zachari Logan con le sue opere. Possiamo continuare ad ignorarla, evitare di curarci delle conseguenze del nostro comportamento innaturale. Ma prima o poi dovremmo farci i conti. E il Wild Man è qui a ricordarcelo.
Naked and offered up to the eye of the observer in the tiniest detail, the artist portrays himself without ever lapsing into narcisistic self-congratulation but carefully pondering his body’s role in the composition, chosen as a universal touchstone between micro and macro cosmos, between the intimate self and the collective infinite. Logan depicts a relationship of ritual union, between him and Nature, that every so often borders on the religious (Duality #1 Abraham & Isaac, 2012). In the pictures – often large formats and life-size – the Canadian artist’s unbridled corporeity calls to mind the idea of a plainly contemporaneous body, real, leaving the observer in a duality of insertion into pastoral/Arcadian, and thus ideal, scenarios, deprived of any concrete or temporal connotation (Vignette, 2011). A body reproduced in all its entirety that is slowly tainted with the natural data surrounding it. Just there, as we look, Zachari transforms himself. Only now do we understand Wild Man’s true source. Body and nature become united and integrate with each other, mutating into this unknown new entity. An evolution which is drawn out in the series Enigma (2012). An arm being covered by flowers and leaves and thus nourishes and generates insects heralding life and beauty (Enigma #4); a leg from which germinate pansies and on which lie hymenoptera (Enigma #5); a face hardly visible because knitted in a muddle of entangled branches by little birds that rest on his beard (Wild Man. Avian, 2015). Zachari has already almost completely disappeared, utterly fused together with the enveloping natural data (Stick-man, 2011). With his Wild Man, Zachari Logan reveals that “connaissance originaire du monde”, mentioned by Merleau-Ponty for whom it is inherent in each one of us, in our flesh and in our corporeity, where it remains embedded as form of “latent knowledge”. That knowledge is nothing less than the original pact between us and the natural world, a state of union and comprehension which has generated us and nowadays seems lost. And at heart, that loss is the source of our feeling of solitude, and which Zachari Logan talks about through his works. We can go on ignoring it, avoid taking care of the consequences of our unnatural behaviour but, soon or later, we shall have to deal with it. And Wild Man is here to remind us of that.
Eunuch Tapestry 4 PASTEL ON BLACK PAPER 2014 255 X 197 cm
Eunuch Tapestry 4 (details) PASTEL ON BLACK PAPER 2014 255 X 197 cm
Wild Man PASTEL ON PAPER, 2012 270 X 126 cm
Wild Man (detail) PASTEL ON PAPER, 2012 270 X 126 cm
Vignette GRAPHITE ON PAPER 2011 535 X 250 cm
Vignette (detail) GRAPHITE ON PAPER 2011 535 X 250 cm
Enigma #5 BLUE PENCIL ON MYLAR 2015 20 X 18 cm
Enigma #4 BLUE PENCIL ON MYLAR 2015 22 X 19 cm
Enigma #5 BLUE PENCIL ON MYLAR 2015 29 X 22 cm
Wild Man, Avian BLUE PENCIL ON MYLAR 2015 25 X 22 cm
Wild Man, Avian (detail) BLUE PENCIL ON MYLAR 2015 25 X 22 cm
Stick Man (installation) BLUE PENCIL ON MYLAR 2011 300 X 35 cm
Stick Man (detail) BLUE PENCIL ON MYLAR 2011 300 X 35 cm
Stick Man (detail) BLUE PENCIL ON MYLAR 2011 300 X 35 cm
Duality #1 Abraham & Isaac GRAPHITE ON PAPER 2010 159 X 107 cm
Ditch Face PASTEL ON BLACK PAPER 2015 52 X 35 cm
Go To Hell (Studies 1 – 9) BLUE PENCIL ON VELLUM 2012 (installations)
Curriculum Vitae 2008 MFA - University of Saskatchewan (Distinction), 2004 BFA - University of Saskatchewan (Distinction) Exhibition History: Solo: Forthcoming 2016, Title TBA, New Art Projects London. London UK. Forthcoming 2016, Title TBA, Isolo17. Verona, Italy. Forthcoming Nov 2016, Title TBA, exhibition/residency, Schleifm端hlgasse 12-14, Vienna, Austria. Forthcoming June 2016, Title TBA, Paul Petro Contemporary, Toronto, Ont. Forthcoming, April-Aug 2016, A Natural History of Unnatural Things, Moose Jaw Museum & Art Gallery. Moose Jaw, Sk. Dec 2015, The Loneliest Animal, ISOLO 17, Verona, Italy. Nov. 2015, Grotesques, Roq La Rue, Seattle, WA. Oct. 2015, Wildermann, Alan Avery Fine Art, Atlanta, GA. Oct 2015 A Natural History of Unnatural Things, Art Gallery of Regina, Regina, SK. Oct 2015, Wunderkammer, Slate Fine Art Gallery, Regina, SK. June 2015, Ditches, Dandies and Lions, Paul Petro Contemporary, Toronto, Ont. Feb 2015-May 2015, Eunuch Tapestry 5, Leslie-Lohman Museum, Wooster Street Window Gallery, New York, NY. Jan 2015-March 2015, The Gloaming Pt. 1: The Dreaming, Chapel Gallery, North Battleford, Sk. July/August 2014, Sisi Boy, Schleifm端hlgasse 12-14. Vienna, Austria (Exhibition & residency project) June-July 2014, Folds. Angus-Hughes Gallery, London UK. (Exhibition & residency project) Jan 2014, Hanging Garden, Line Gallery. Curated by Rhiannon Vogl. North Bay, Ontario Nov 2013-March 2014, Specimens, Pristine Galerie. Monterrey, Mexico. Sept-Dec, Fugitive Garden, Illingworth-Kerr Gallery. Curated by Wayne Baerwaldt. Calgary, AB. Sept. 2013, Trial & Error: Beautiful Losers, Schleifm端hlgasse 12-14. Vienna, Austria March-April 2013, Metamorphosis, Daniel Cooney Fine Art. New York, NY. Sept/Oct 2012, Wilderness Tips, Schleifm端hlgasse 12-14. Vienna, Austria. Nov 2011-Jan 2012, Trauma & Other Stories, Daniel Cooney Fine Art. New York, NY. Nov 2011-Jan 2012, Disappearances, Galerie Jean Roch Dard. Paris, France. Nov 2011 Androphilia Art Project, Naff Athina Collective. elCultur Art Space. Athens, Greece. Oct/Nov 2011, Fable-ous, Headbones Gallery, Vernon, BC. August- Sept. 2010, Duality, Artevistas, Barcelona, Spain. Jan.-Feb. 2010, Beautiful Losers, Headquarters Studio, New York, NY. June 2009, Zachari Logan @ Envoy Enterprises, Envoy Enterprises, New York, NY. April 2009, One Day At A Time: Drawing Project #1, Envoy Enterprises, New York, NY. Jan. -Feb. 2009, The Myth of Pants, Galerie Jean Roch Dard, Paris, France. Oct. 2008, Anxious Actor, Gordon Snelgrove Gallery, University of Saskatchewan, Saskatoon Sk. June-July 2007, Play Boys, Craig Scott Gallery, Toronto Ontario. Group Exhibitions, Curatorial Projects, Art Fairs: Forthcoming, Feb. 2016 Forever After: You Deserve Better, Rodman Hall Arts Centre, Brock University, St. Catherines, Ont Forthcoming, Dec. 2015 Pulse Miami, New Art Projects, Miami, Fl. Forthcoming, Oct 2015, Verona Art Fair, ISOLO 17, Verona, Italy. Sept 2015, The Language of Flowers, Paul Petro Contemporary Art, Toronto, Ont.
Sept 2015, Heat, Actual Gallery, Winnipeg, Man. June 2015, Forever After: You Deserve Better. Backdrop, Brooklyn, NY. April 2015, Immortality & Vulnerability, Zhou B Art Centre, Chicago IL. April 2015, ISCP Open Studios, Brooklyn, NY Feb-Mar 2015 Pressure Point, curated by Lee Plestad, Secret 8, Calgary Ab. Jan-Feb 2015, Faceless (touring exhibition) Curated by Bogomir Doringer. Brussels, Belgium & Belgrade, Serbia. *Preceded by (Jan-April 2014) at Mediamadik Fabriek, Amsterdam, NL. *Preceded by (July–Dec 2013) Opening at Museums Quartier, freiraum quartier21 International. Vienna, Austria. Dec 2014, 11th Year Anniversary Show, Western-Project, Los Angeles, CA. Dec 2014, Pulse Miami Art Fair, New Art Projects London. Miami, FL. Nov 2014, 306er’s: A Wave From Saskatchewan, Dc3 Projects. Edmonton, AB. April-May 2014 Drawn, A Survey of Contemporary Drawing, Manifest Gallery. Cincinnati, Ohio. March-April, Infusion. Roq La Rue Gallery, Seattle, Washington. Feb 2014 Alison Norlen, Clint Neufeld & Zachari Logan. Darrell Bell Gallery, Saskatoon, Sk Jan-Feb 2014 Collection Gilles Balmet, Centre d’art contemporain de la ville de Fontaine, Grenoble. France Nov-Dec 2013, New Work, Western-Project, Los Angeles, CA. July 2013-Feb 2014, Men Working: Collection of Allen Thomas Jr. Turchin Center for the Visual Arts, Boone NC. April 2013, Untitled Male id, Angus-Hughes Gallery, London, UK. March-April 2013, Passages, (curatorial project) Daniel Cooney Fine Art, New York, NY. Jan-Mar 2013, Outsiders, Artist by Artist Mentorship: Zachari Logan & Humboldt Magnussen, Mendel Art Gallery. Saskatoon, SK. Sept. 2012- Jan. 2013, The Names of Things, Mendel Art Gallery, Saskatoon, Sk. Oct 2012 Jan 2013, Melancholia, Pristine Galerie. Curated by Raul Zamudio. Monterrey, Mexico. Oct. 2012, Toronto International Art Fair 2012, Darrell Bell Gallery. June 2012, WinniPig, Antebellum Gallery, Los Angeles, California. Curated by Noam Gonick. April 2012, Papier 12- Contemporary Drawing, Art Fair. Headbones Gallery. Montreal, Que. Jan.-Feb 2012, Younger, Daniel Cooney Fine Art. New York, NY. Dec. 2011-Feb. 2012, Cosmopolis, Pristine Galerie, Monterrey Mexico. Oct. 2011, San Diego Art Fair. Pristine Galerie. March – June 2011, Muero el Perro, Pristine Galerie. Monterrey, Mexico. Mar-April 2011, Domestic Queens, FOFA Gallery, Concordia University. Curated by Evergon. Montreal, Que Feb-April 2011, Drawings from Allen G Thomas Jr. Collection, Virginia Thompson Gallery. Curated by Linda Dougherty, Chief Curator, North Carolina Museum of Art. May-June 2010, I See Myself In You, BRONX Art Space. New York, NY. June 2010, Memento, Werkstatt Galerie, Berlin, Germany. April 2010, Gasoline Rainbow, CS-13, Curated by Matthew Dayler. Cincinnati, Ohio. March 2010, PULSE Art Fair NYC, Beautiful Losers Project. Spinello Gallery. Miami, Fl. Oct-Dec 2009, When I Grow Up, (*Collaboration with Sophie Calle) Galerie Jean Roch Dard. Paris, France. Sept. 2009, NUDE Manifest, Manifest Gallery. Cincinnatti, Ohio. July 2009, Summer Camp II, Exile Berlin. Curated By Dan Halm. Berlin, Germany. July 2009, Self, Identity 1: MFA NOW Exhibition, Praxis International. Miami, Florida. May 2009 Figuration, Headbones Gallery, Toronto/ Definitely Superior, Thunder-Bay, Ont. April 2009, Salon Du Dessin: contemporain, Palais de la Bourse. Paris, France. Sept.2008 – Jan. 2009, FLATLANDERS, Saskatchewan artists on The Horizon. Mendel Art Gallery. Saskatoon SK. Nov-Dec. 2006, Body Language, Lehmann Leskiw Gallery Toronto, Ont. Oct-Dec. 2006, Works on Paper, Neutral Ground, Regina Sk.
Oct-Nov. 2005, Inaugural Drawers Selection, Headbones Gallery: The Drawers . Toronto, Ont. Residencies: Forthcoming 2016, Schliefmuhlgasse 12-14 & ODD Bucharest. (joint residency) Vienna, At./Bucharest, Rm. Forthcoming Jan-Feb 2016, Wave Hill Public Garden and Cultural Centre: Artist in Residence Program. Bronx, NY July Aug 2015, University of Regina, Artist Residency Program. Regina, Sk. April-June 2015, International Studio & Curatorial Program, (ISCP) Brooklyn, NY. May-June 2014, Artist Residency/Exhibition Project. Angus-Hughes Gallery. London, UK. June-July 2014, Artist Residency/Exhibition Project. Schleifmühlgasse 12-14. Vienna, Austria. March 2012-Sept 2013, Ceramics Residency: Visiting Artist Program. Alberta College of Art & Design. Ceramics Dept. Feb 2013, Artist In Residence Program, quartier21 (Museums Quartier). Vienna, Austria. August-Sept. 2012, Artist Residency/Exhibition Project. Schleifmühlgasse 12-14, Vienna Austria. April-May 2011, Headbones Invitational Residency Program, Vernon, BC. June-July 2010, Sassafras Liberty/ARC Invitational Artist Residency, Liberty, Tennessee. August-Sept 2009, Drawing Residency, Louvre: Galerie Jean Roch Dard. Paris, France. Artist Talks/Symposiums/Teaching: Forthcoming fall 2015, Visiting Artist /Critic Lecture Series, New York Academy of Art, NY. Nov. 2014, An Artist’s Success Story, Invitational Artist Talk: Canadian Art Alliance, SOFA. Chicago, IL. July 2014, Figuration and Landscape in Contemporary Drawing. Alberta College of Art + Design, Extended Studies. June 2014, Artist Talk. FOLDS, Angus-Hughes Gallery. London, UK. April 2014, On The Table, In conjunction with The Drawing Center. New York, NY. Saskatoon Public Library Jan 2014, The Artist and The Curator: A Conversation with Zachari Logan & Rhiannon Vogl. Nipissing University. North Bay, Ont. Jan 2014, Saskatoon & The World: Zachari Logan, Gardening in Vienna. University of Saskatchewan, Gordon Snelgrove Gallery. Nov. 2013, Specimens, A Conversation With The Artist. Pristine Galerie, Monterrey Mexico. Oct 2013, On The Table, In conjunction with The Drawing Center. New York, NY. Paul D. Fleck Library & Archives, Banff Ab. & Alberta College of Art & Design Library, Calgary Ab. April 2013, Artist Talk: Untitled Male id, Angus-Hughes. London, UK. March 2012, Artist Talk: ACAD Visiting Artist Program. Alberta College of Art and Design. Nov 2011, Trauma & Other Stories: Zachari Logan In Conversation with Lia Gangitano. Daniel Cooney Fine Art, New York, NY. March 2011, Artist talk/Symposium, Domestic Queens Project. FOFA Gallery. Concordia University. Montreal, Que. Jan. 2010, Invitational Artist Talk Series, School of Visual Arts (SVA) New York, NY. 2007-08, Foundational Drawing 112.6, University of Saskatchewan, Bibliography (reviews/articles/catalogues): INDA 9: International Survey of Contemporary Drawing. Manifest Gallery Press. Cincinnati, Ohio. (2015) “John Chaich in Conversation with Zachari Logan”, Archive, Leslie-Lohman Museum Quarterly. Issue No. 53 (2015) Eunuch Tapestry 5, Leslie-Lohman Museum. Exhibition Catalogue. Forward by Hunter O’Hanian. (2015) Cercle Magazine, Issue No. 3, Insects. Strasbourg, France. (2015) “Feat of Clay”, by Robert Enright. Border Crossings Magazine, Issue No. 123,. (2015) “Ditches Dandies and Lions, Exhibition Review”, Akimblog, Terrence Dick (2015) “Zachari Logan Depicts Hybridized Nature in the Exploration of Masculinity and Queer Identities” Hayley Evans. Beautiful Decay Magazine Cercle Magazine, Issue No. 3, Insects. Strasbourg, France. (2015) “Feat of Clay”, by Robert Enright. Border Crossings Magazine, Issue No. 123,. (2015)
“Ditches Dandies and Lions, Exhibition Review”, Akimblog, Terrence Dick (2015) “Artists Expand Their Practice”, David Jager, Now Toronto https://nowtoronto.com/art-and-books/art/artists-expand-their-practices/ Blackflash Magazine. Interview with Rhiannon Vogl, Assistant Curator Contemporary Art, National Gallery of Canada. (2014) “Unfolding Beauty” by Cristina Bogdan. Glass Magazine. London, UK. http://www.theglassmagazine.com/unfolding-beauty/ “Zachari Logan: Fugitive Garden” by JJ Kegan McFadden. C Magazine. Issue 121, Spring 2014. “Kunststories: Don’t Be Gay” by HYPERLINK “http://www.thegap.at/autoren/autor/redakteur/yasmin-szaraniec/”Yasmin Szaraniec. The Gap Magazine. Vienna, Austria. “Drawing, Drawing, Drawn: Drawn at Manifest Gallery”, by Jonathan Kamholtz. AEQAI Journal. May 2014 Cincinnati, Ohio. “Zachari Logan’s Wild Man” Juxtapoz Magazine. http://www.juxtapoz.com/illustration/zachari-logan-s-wild-man “Portfolio: Zachari Logan” by Betsy Rosenwald University of Saskatchewan: Arts & Science Magazine, Spring 2014. Collection Gilles Balmet. Exhibition Catalogue. Centre d’art contemporain, ville de Fontaine. Grenoble, France. (2014) “Zachari Logan Explores the Gender Spectrum Through Depictions of Nature”, by Nastia Voynovskaya. Hi-Fructose Magazine. http://hifructose.com/2014/01/23/zachari-logan-explores-the-gender-spectrum-through-depictions-of-nature/ Filling Station, Issue 58, Cover image, Featured Artist. Calgary, Ab. (2014) Grain Magazine. Issue 40.1, “The Issues Issue” Cover image, Featured artist. Saskatoon, Sk. (2013) “The Names Of Things”, by Lissa Robinson. Exhibition Review. Galleries West. (2013) “Zachari + Humboldt, A Conversation With Artists Zachari Logan and Humboldt Magnussen.” CARFAC Saskatchewan Newsletter. INDA 7: International Survey of Contemporary Drawing. Manifest Gallery Press. Cincinnati, Ohio. (2012.) Zachari Logan. Comprehensive catalogue. Introduction by British art-historian Edward Lucie-Smith. Rich Fog Publishing. (2012) “Iridescences, Zachari Logan,” Antoine d’Avout. RAISE Magazine. Issue No. 12. Paris, France. Toronto International Art Fair. Catalogue. (2012) Aesthetica Creative Works: International Survey 2012. Aesthetica Magazine, London UK. “To Thine own Self,” Julie Oakes, Vie Des Artes, Issue No. 225. Montreal, Que. (2012) Gorgeous Gallery, David Leddick (Ed.) Bruno Grunder Publishing. Berlin (2012) “Domestic Queens Project: Exhibition Review” C Magazine, Issue No. 111. (2011) “Spotlight: Zachari Logan”, Martin Perry. Out There Magazine. Issue 3, London UK. (2011) “The Faceless Project.” By Bogomir Doringer, FAAR Magazine, Belgrade, Serbia. (2011) GOLDEN, Exhibition Catalogue. (Curatorial Project) Richard Fog Pub. Ottawa Ont. (2011) Domestic Queens, Exhibition Catalogue. Commentary, Mark Clintberg. Galerie FOFA, Concordia University. Montreal Que. (2011) 100 Artists Of the Male Figure. Eric Gibbons, Schiffer Publications, Atglen, PA. USA. (2011) “Self-Exposure: Daniel Cooney Fine Art” The New Yorker, New York, NY. July 20th, 2010. “Top Three Canadain Visual Artists” Maria Rondon. University of Ottawa, FULCRUM. 2010. “Zachari Logan: Mmurm of Body”. VISIONS Magazine, March 2010. Beijing, China. “Zachari Logan: L’homme, A Son Image.” PREF Magazine. Paris France. (2010) A Eulogy for the Buoyant. Zachari Logan. Jack Pine Press, June 2010. (original poetry/drawings.) “Fully Exposed: Manifest Debuts Revealing, Playful Nude.” by: Selena Reder. Cincinnati CityBeat,, Cincinnati, Ohio. “Zachari Logan”, by Roger Winstanley. PARQ Magazine, No.15. Oct 2009. Lisbon, Portugal. When I Grow Up, (collaboration w/Sophie Calle) Exhibition catalogue. Galerie Jean Roch Dard. Oct. 2009. Paris, France. NUDE Manifest, Exhibition Catalogue. Manifest Gallery, Cincinnati Ohio. “Even Mary Magdalene” By William Johnson. CRUSH Magazine, June 2009. New York, NY. FLATLANDERS: Saskatchewan Artists on the Horizon. Exhibit Catalogue, Mendel Art Gallery. “Grinning And Baring It” By Robert Enright. Border Crossings, Issue No.103 Winnipeg, Man. ‘Artist Postcard project’, Black flash magazine. issue 24.1 fall 2006. “Spotlight Artist: Themes, Thoughts and Dialogue”. Mix Magazine 31.1, June 2006
Collections: Remai Modern Art Gallery of Saskatchewan, Saskatchewan Arts Board, University of Saskatchewan, SGI Collection, Line Gallery Collection (CA), Leslie-Lohman Museum, (US), Bruce Bailey Fine Art (CA), Edward Lucie-Smith (UK) Allen Thomas Jr (US). Randy Pi (US). Laurence Esnol (FR) Christophe Prodhom (FR) Robert Shiell (US), Glen Ligon (US), Ross Bleckner (US) *Many other private collections worldwide. Awards/Grants: March 2015, Alumni of Influence Award. Arts & Science, University of Saskatchewan. April 2015, Manifest International Drawing Award (INDA 9) Manifest Gallery, Cincinnati Ohio. Nov 2014, Lieutenant Governor’s Award, Emerging Saskatchewan Artist 2014. May 2014, Independent Artist Grant, Saskatchewan Arts Board. April 2013, Research/Creation Project Grant. Canada Council of the Arts. April 2013, Travel Grant, Canada Council of the Arts April 2013, Travel Grant, Saskatchewan Arts Board June 2012, Independent Artist Grant. Saskatchewan Arts Board Jan 2012 – present, Drawing Center: Viewing Program Member. New York, NY. April 2011, Research/ Creation Project Grant. Canada Council for the Arts. July 2010, Figurative Painting Finalist. Fundació de les Arts. Barcelona, Spain. June 2010, Independent Artist Grant. Saskatchewan Arts Board June 2009, Independent Artist Grant. Saskatchewan Arts Board April 2009, Travel Grant, Saskatchewan Art Board January 2009, MFA-Now, International Painting Competition winner. New York, NY. Oct. 2008, Graduate Thesis Award, Humanities & Fine Arts, University of Saskatchewan. 2007-2008, Graduate Teaching Fellowship University of Saskatchewan, Art & Art History. 2006-2007, Graduate Teaching Fellowship University of Saskatchewan, Art & Art History.
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