Abstract illustrator Robert Pasternak blends genres and scale with surreal miniature exhibition in Winnipeg
Robert Pasternak's new exhibition, The Art of Noticing, showcases his fascination with miniaturism and abstract art. Located at Winnipeg's Katie + Gunner Gallery, the exhibition features over 80 original works, including paintings and sculptures. This marks Pasternak's first major display in a decade, highlighting his diverse artistic career.
- ▪The exhibition includes a gallery within a gallery, featuring works one-twelfth the size of the main gallery.
- ▪Pasternak's art blends genres, including graphic design, illustration, and surrealist filmmaking.
- ▪A pop-up shop at the exhibition offers novelty items and books, including his upcoming graphic novel.
The Globe and Mail publishes from Canada and files mainly under world. We currently carry 1,935 of its stories.
Story provenance
Source · retrieval · rights · ranking — open for full record
inspect →
Story provenance
Attribution is not the same as permission. This drawer separates discovery metadata, excerpts, WeSearch-generated summaries, reuse status, and whether the publisher receives the visit. Nothing here claims a legal grant the publisher has not made.
Record
| Original publisher | The Globe and Mail |
| Canonical URL | https://www.theglobeandmail.com/culture/art-and-architecture/article-abstract-illustrator-robert-pasternak-exhibition-winnipeg/ |
| Publication time | Tue, 26 May 2026 14:00:00 +0000 |
| Retrieval time | 2026-05-26T14:02:49.505Z |
| Last seen | 2026-05-26T14:02:49.505Z |
| Headline source | Publisher (no WeSearch rewrite) |
| Excerpt source | publisher body |
| Excerpt method | First ~120 words (~800 chars) of extracted publisher body, fair-use limited. |
| Summary | WeSearch · cerebras-chat (WeSearch summarizer) |
| Summary source text | contentText |
| Citation coverage | Summary is a WeSearch-generated derivative; primary citation is the original publisher URL. |
| Cluster | wQCPWj37FTmc |
| Cluster logic | Grouped by semantic title/content similarity across sources within a rolling window. Same-publisher template collisions are excluded from coverage comparison. |
| Ranking reason | Story pages are not engagement-ranked. Hub feeds use recency, with optional source-diversified chronological ordering (cap consecutive stories per source). No personalized ranking. |
| Publisher visit | Yes — open original |
| Substitutes article? | No — link-out required for full text |
Rights status (four layers)
WeSearch handling by dimension
| Indexing | May the item be indexed (stored, ranked, made findable)? | Allowed |
| Snippet | May a short excerpt of the publisher's text be shown? | Allowed |
| AI summary | May WeSearch generate its own short summary of the article? | Limited |
| Retrieval / RAG | May the content be exposed for third-party retrieval-augmented generation? | Not asserted |
| Model training | May the content be used to train AI models? | Not asserted |
| Commercial reuse | May the content be reused commercially? | Not permitted |
Basis: Derived from the published RSS/Atom feed. Contact: [email protected]. Reviewed: 2026-07-24.
Opening excerpt (first ~120 words) tap to expand
In the early 2000s, as he shuffled between midnight buses, heading home late from his studio in Winnipeg, Robert Pasternak looked forward to the transit transfer tickets he’d receive. They were highly specific. Only commuters in the wee hours saw a tiny blank space between the cookie-cutter script about the pass’s validity and the two giant notations demarcating the present year.That little space on paper, just a few centimetres at best, was Pasternak’s artistic oasis. Over the years, he repeatedly doodled on those tickets freehand, using ink pens to create fire-like, breathy sketches – a signature motif of his work. Similar patterns appeared on many of his larger-scale paintings and assemblages.
…
Excerpt limited to ~120 words for fair-use compliance. The full article is at The Globe and Mail.
Discussion
0 commentsMore from The Globe and Mail
