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An exclusive excerpt from Ross King’s new book on the Group of Seven
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Fact meets fiction in Iris Häussler’s installation odysseys
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Arthur Renwick’s photography combines beauty and politics
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Welcome to the 25th-anniversary issue of Canadian Art.
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Ydessa Hendeles joins U of T as professor; Ian Wallace's big honour; MacKenzie Art Gallery names Stuart Reid as head; New mandate for DHC/ART; The New Art Gallery of Alberta; Bob Rennie collection moves to Chinatown; Vancouver's "Offsite" showcase
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Things are changing for Montreal, the perennial little brother of North America’s big cities and big art scenes. In a review of last year’s Québec Triennial, the Globe and Mail asked, “Is Montreal the real art capital of Canada?” It’s now a fair question.
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It is conventional art wisdom that it’s best to paint what is around you. And what is around the artist Ben Walmsley is children. He has four of them, ranging in age from nine to 19. “I’ve been a stay-at-home dad for 20 years now,” Walmsley tells me during my recent visit to his Toronto studio.
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Adad Hannah brings the art of the past into the new world of video
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Kelly Richarson blurs the line between fantasy and reality in her culture-saturated video landscapes
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Corin Sworn revisits the fictions of modernism through playgrounds, B movies and a school rulebook
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My first meeting with Gareth Moore took the form of a walk. On the day of our hike along the tidal flats of Iona Beach Regional Park in Richmond, B.C., the sky was overcast with a slight drizzle.
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Begin with a song. In Emily Vey Duke and Cooper Battersby’s debut video, Rapt and Happy (1998), the first thing we hear is Duke’s voice singing “Doo doo doo...I’d love to keep you warm.”
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Though its industrial past was downright gritty, Montreal’s Darling Foundry is, today, a pretty tidy place. On the first floor, two large, pristine galleries host exhibitions. On the third floor, artists and curators lunch in a stylish open kitchen. Even on the second floor, where the artists’ studios are located, the hallways are clean, with nary a blot of paint or a dot of clay in sight.
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As last winter passed into spring, the artists Jennifer Marman and Daniel Borins were intent on making every minute count. They had just finished an immense installation for Canada Blooms, Toronto’s annual flower-and-garden show, hard on the heels of exhibitions at the National Gallery of Canada and the Art Gallery of York University. Several other projects were in varying states of completion or looming on the horizon.
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The Anthony Hernandez show at the Vancouver Art Gallery has been unexpected in a number of ways.
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Straight from the Sundance Film Festival, Tamra Davis' moving documentary Jean-Michel Basquiat: The Radiant Child pays homage to her friend, the legendary artist, in his own words
World, North American and Canadian premieres to be introduced by specially invited artists, authors, curators and directors, including Susan Vogel, Joanne Tod and Barbara Fischer.
Our magazine and foundation currently have an opening for the position of production manager. Application deadline is February 26, 2010.
This fall, Canadian Art’s young patron group visited the home and studio of Jason McLean, where they toured the artist’s personal collection.
Canadian Art launched its much-anticipated winter issue at Leo Kamen Gallery in Toronto on Wednesday, December 16, 2009.
Places as finalist in competitive, first-ever best e-newsletter category
On October 23, the Canadian Art New Contemporaries enjoyed a series of art talks and gallery tours at the Toronto International Art Fair.
This year’s festival showcases 13 films on top art world figures including world, North American and Canadian premieres.
On December 9, 2009 in Toronto, the secrets and symbolism of Canada’s most famous art group were brought to light in a lecture by bestselling author Ross King.
Over $250,000 raised in support of Canadian Art’s programs
Vancouverite Geoffrey Farmer has earned an international name for himself by turning Arte Povera materials into rich meditations on history, psychology and other big themes. Now fans can get a look at his new explorations in a show at Catriona Jeffries.
Since the 1970s, Raymonde April has studied key contemporary issues in photography. Now, with her art spawning three Montreal exhibitions, Bryne McLaughlin talks with curator Eduardo Ralickas about what makes April’s art so compelling.
Nearly 1 billion people live in Africa, yet we get relatively few reports from it. Now, Congolese artist Sammy Baloji creates a compelling portrait of time and place there in “Vues de Likasi,” an installation at the Contact Festival’s new gallery in Toronto.
Gabriel Coutu-Dumont filtered thousands of globetrotting photos down to a mere 275 for his current touring show. But as critic Amy Fung reports, Coutu-Dumont’s exhibition is at its best when it focuses on the artist’s photographic—rather than curatorial—skills.
In the past, Montreal photographer Yann Pocreau has focused on the body’s interaction with architectural forms. Now, in a show of newer work, Pocreau focuses on something less concrete—the interaction of mobile bodies with local light.
