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In an age when print is on the decline, the art of Ève K. Tremblay has a special poignancy. As Daniel Baird writes in this feature from our current issue, Tremblay's projects cogently intertwine printed books with life experiences and vital memories.
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To look at an early Edward Steichen image is to see a hybrid artist working on the cusp of painting and photography. In this article from our Winter 2012 issue, Richard Rhodes observes that Toronto photographer and publisher Michael Torosian provides a wonderful look at Steichen's practice in his new book Eduard et Voulangis.
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The mythology of General Idea hovered in a haze around the top floors of the Art Gallery of Ontario throughout
“Haute Culture: General Idea, A Retrospective 1969–1994.” In this review from our Winter 2012 issue, Ashley Johnson reflects on the global legacy of this Canadian collective.
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An air of mystery enveloped the images in Karin Bubaš’s exhibition “Colour Field,” which appeared at Monte Clark Gallery in Vancouver in the summer of 2011. In this review from our Winter 2012 issue, Rachel Rosenfield Lafo considers how Bubaš’s pictures provide an interplay between painting and photography.
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Tucked behind the bustle of Montreal’s rue Notre-Dame, a century-old shipyard has been transformed into a stunning complex dedicated to contemporary art. In this article from our Winter 2012 issue, Christina Bagatavicius reports on L'Arsenal, an ideal location for a newly thriving cultural milieu.
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What’s left to see in painting that we haven’t already seen? In this feature from our current issue, writer and curator Leah Turner considers how young LA-based, Vancouver-trained artist Monique Mouton is meeting that question—often in fresh new ways.
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For more than three decades, Ken Lum has made overlooked subjects into endearing, noble and transformative works. Find out more about the artist, his East Van roots, and his struggles with the art system in this current-issue feature by Danielle Egan.
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Born in Tehran and based in Toronto, Abbas Akhavan has spent the past five years making drawings, videos and performances that hinge on travel in Vancouver, Dubai, Berlin and beyond. Find out more in Hadani Ditmars’ feature from our current issue.
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In this feature from our Spring 2012 issue, Toronto critic Peter Goddard reflects on "The Messenger," a major touring retrospective of William Kurelek's works produced jointly by the Winnipeg Art Gallery, the Art Gallery of Hamilton and the Art Gallery of Greater Victoria.
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Opening on May 27 at MASS MoCA in North Adams, Massachusetts, “Oh, Canada” will be the largest survey of Canadian contemporary art ever held on American soil. In this interview from our Spring 2012 magazine, critic Sarah Milroy talks about the show's development with MASS MoCA curator Denise Markonish.
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In this feature article from our Spring 2012 magazine, Sarah Scott looks at the long and diverse career of Windsor artist IAIN BAXTER&, as well as some of the unexpected influences he has had on European practitioners.
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One of Rebecca Belmore's most recent works, The Blanket, continues the artist's practice of speaking to the centuries of abuse Aboriginal peoples have endured in Canada. In this interview with Lee-Ann Martin from our Spring 2012 magazine, Belmore discusses her critically acclaimed works and their meanings.
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An article from the Winter 2012 issue of Canadian Art
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Derek Sullivan’s exhibition “Albatross Omnibus”—the Power Plant’s 2011 commission—was inspired by the history of the artist’s book, an art form that arose in the 1960s and 70s in conjunction with conceptual art. In this article from the Winter 2012 issue of Canadian Art, Bill Clarke reviews the show, which suggests both the liberations of intellect and the burdens of physicality.
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Full talks and tours schedule, Douglas Coupland conversation info, and magazine launch details posted for free day of activities
Applications due May 9 for $55,000 in prizes
Free art tours for high-school students to take place in April and May
New writers on contemporary art encouraged to apply by June 1
Dates already set for next year’s Toronto festival
Applications for this $7,000 student award are due April 6
Event to feature a conversation with Douglas Coupland, gallery tours, a magazine launch and more
Films on Shary Boyle, Elmgreen & Dragset, Michel de Broin and Jon Gnarr set to open the festival on March 22
Opening-night celebration and art-industry talks highlight fifth year of fair
Don’t miss the North American premieres of films on Candida Höfer and Thomas Struth, happening February 23
The 85-year-old artist Arnaud Maggs nudged out Fred Herzog and Alain Paiement as winner of the second annual Scotiabank Photography Award, announced last night in Toronto. This $50,000 win follows the opening of a major Maggs survey at the National Gallery of Canada.
As one of the primary exhibitions for Contact 2012, “Public: Collective Identity | Occupied Spaces” is ambitious. Charlene K. Lau observes that the two-venue show mirrors the fractures of contemporary life: public and private, visible and invisible, place and non-place.
In this review, writer and artist Joni Murphy considers Abbas Akhavan’s current solo show in Montreal, which activates a variety of themes—war and art, destruction and nation building, human and animal—with a distinctively light touch.
Melding William Morris-style ornamentation with more contemporary concerns, artist Luke Painter detours around dry academicism for something more vibrant and visceral. Mariam Nader reviews his current Toronto show at LE Gallery, finding depth in decoration.
Frieze opened its first New York edition last week with some surprising highlights: sculptures that were free for public viewing outside the big commercial tent. Canadian Art art director Barbara Solowan was there, and brought back this slideshow.
