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In our summer 2010 magazine cover story, contributor Adele Weder unpacks optical energies and conceptual complexities in the abstract imagery of Vancouver painter Elizabeth McIntosh. McIntosh's view of the canvas as "an indefinite expanse" results in notable, boundary-blurring artworks.
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It’s a bright, frigid, mid-winter morning in Old Montreal, with wind
that freezes the eyelashes and numbs the lips gusting up the cobblestone
streets, and at this hour the Darling Foundry building for
once feels like the magnificent abandoned factory it in fact is.
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Over the last few years, a new manner of figurative painting—visceral, knowingly banal
or aggressively two-fisted, deeply ambivalent about the lightness of the virtual and hostile
to the opinion that figurative painting is dead—has emerged in galleries from Toronto and
Montreal to New York, Berlin and beyond.
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One of the problems besetting painting over the past century
or so has been this: when does a painting start being a sculpture?
Pure opticality (painting’s purview) and somatic engagement
(sculpture’s thing) would seem to be at odds, but some artists have
a knack for bridging that gap and bringing it all together.
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I am sitting with the artist Marc Séguin in a bagel shop on the Main in
Montreal, Leonard Cohen’s old haunt. I have a few questions prepared for
him but all of a sudden I am channelling the priest in the baptism scene
from The Godfather.
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In this article from the summer 2010 edition of Canadian Art magazine, Kitchener artist Robert Linsley—who has shown in Berlin, Barcelona and Düsseldorf, with a KWAG survey coming in 2011—looks at the often-overlooked medium of watercolour using the expert work of Paul Cézanne and David Milne as reference points.
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In this feature from the summer 2010 edition of our magazine, artist, writer and educator Trish Boon introduces the work of Toronto's Dorian FitzGerald, an artist who recently made a big splash in the art world with his massive paintings of luxury objects and ornate interiors. The result is a critical trip down the path of decadence and hedonism.
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One of the remarkable rebirths seen within contemporary art has been the
return of painting. Despite being declared dead and buried by postmodernist
argument in the 1980s, painting didn’t actually die; it simply kept to the shadows
while the art world turned its attention elsewhere.
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Art Prize Update; Plug In ICA moves this fall; Toronto's 2010 Nuit Blanche curators; Vancouver Art Gallery settles on new downtown site; 2011 launch for Weston Centre; Husky Energy makes major gift to The Rooms; Letter to the Editor
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We live in a time when reality television
offers up a scenario in which a household organizer with
an M.A. in psychology arrives at your house with hunky
carpenters to help hapless families sort and throw out their
messy possessions.
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Toronto’s history does not
reveal itself willingly. The city’s steep
ravines, carved over millennia by coursing
water, fall away suddenly below street level
and so escape the notice of the untutored
eye.
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Earlier this year at the Neuberger Museum of Art, about 30 miles outside
New York City, the Cuban-born artist Tania Bruguera, who lives and
works in Chicago, Havana and Paris and whose work examines the
relationships among ideology, power and social behaviour, mounted
a 15-year retrospective justly titled “On the Political Imaginary.”
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In 2009, I exhibited my video What Remains at the University of
Copenhagen’s medical museum. While there, I took the time to roam
through an exhibition entitled “Split + Splice: Fragments from the
Age of Biomedicine,” which had been organized by the Canadian artist,
curator and academic Martha Fleming along with four post-doctoral
researchers at the museum.
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Robert Mangold has spent much of his career exploring variations
of a formal theme: the interplay of line, frame and colour. This
Albright-Knox show features four recent series of paintings and a group
of studies for a public work, with emphasis on the two most recent
painting series, Column Structures and Ring Images.
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David Armstrong Six’s anti–form fit installation The Dry Salvages took over
Parisian Laundry’s idiosyncratic back gallery, which is known as the Bunker—
a raw, windowless concrete box accessed via a subterranean passageway.
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Join us on Thursday, September 23, and Saturday, September 25, for exciting events that celebrate the visual arts.
Canadian Art’s under-40 patron group launches its second year with a program of extraordinary behind-the-scenes art events.
Congratulations go to winner Pandora Syperek and runners-up Deirdre McAdams and Vency Yun.
The Canadian Art Foundation, with RBC, is pleased to announce the 15 semifinalists in the 12th annual RBC Canadian Painting Competition.
In this video, recorded on Saturday, May 29, 2010, as part of the Canadian Art Gallery Hop in Vancouver, Kitty Scott, director of visual arts at the Banff Centre, and Douglas Fogle, chief curator of the Hammer Museum, joined artists Lisa Anne Auerbach and Althea Thauberger to offer their thoughts on the artist’s role in the world.
Canadian Art is currently seeking an Online Production Manager to join its team. Applications are due September 10, 2010.
Canadian Art magazine is currently seeking an editorial professional to join its team. Applications are due September 15, 2010.
Canadian Art’s under-40 patron group had a fun make-your-own dining experience with one of Toronto’s hottest young artists
Learn about the influences that shaped the PS1 curator’s thinking as he prepared for his exhibition “The Talent Show”
Join us September 23 for a gala benefit and September 25 for a free day of talks at galleries citywide
In recent years, both the Dia and MASS MoCA have mounted tribute exhibitions to late American artist Sol LeWitt. This week, Mercer Union wraps up its own notable homage, which recreates a 1981 wall drawing LeWitt did for the then-fledgling space.
For the past number of years, there's been controversy regarding the future of Halifax’s Khyber Arts Society. Seen by many as a key venue locally and nationally, the Khyber was back in the news this month as a city report recommended a new three-year plan for its space.
Play and strife come together, DIY style, in Todd Tremeer’s Little Wars (Make Me), an interactive project that debuted this month at the Art Gallery of Greater Victoria. In it, viewers can collaborate on a wall-sized battle mural and “bring the war home” via paper-cutout soldiers.
Summer is often marked by contrasts, a dynamic that the Kitchener-Waterloo Art Gallery seems to pick up on in its current pairing of solo shows: John Kissick’s manic, multifaceted paintings and Gwen MacGregor’s calm, geoscience-toned fieldwork.
MKG127 acknowledges Toronto’s above-average summer temperatures with “Heat,” an exhibition that ironically offers some cool respite while displaying works that evoke bubbling tar, existential crises and blistering guitar solos.
