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When she emerged into the limelight in the mid-1990s, Elizabeth Peyton stood at the forefront, alongside artists such as John Currin, of a wave of artists returning to virtuosic figurative painting.
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Jenny Holzer began her career anonymously pasting offset posters on building walls, garbage-can covers, postal boxes and hoardings around New York City
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Blaring music, a crowded dance floor, countless margaritas and tall women dressed in PVC pants and motorcycle helmets serving canapés out of pizza boxes can only mean one thing: the private-view party at Haunch of Venison for the Mexican-Canadian multimedia artist Rafael Lozano-Hemmer's first commercial show in London.
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As its title makes explicit, the Jewish Museum's revisionist revisiting of the primal scene of Abstract Expressionism revolved around the dialectical poles that defined the movement. Yet rather than the titular titans of midcentury painting, the curators took for those poles the artists’ vociferous champions, the rival critics Clement Greenberg and Harold Rosenberg.
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It is always amusing when the church of culture (located at the corner of fashion and indifference) finds its hidden soul and solemnly gesticulates before one of the high priests of poetry and aesthetic reserve. In an art world obsessed by public profile and snarling cosmopolitanism, the case of Giorgio Morandi makes all but the most devout cynic or ossified realist deeply confused.
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A neon-pink sign that reads “The Mirror” twitches promisingly above the exterior door to the gallery on a rainy, grey London day. “ADMISSION OVER 18 ONLY” warns a steely plaque on the door. The gallery entrance looks foreign; once inside, I realize that the shelter from the rain only generates a deeper depression.
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For the past half century, Francis Bacon has been the malevolent colossus of British painting: a maverick who never attended art school, yet created pictures that continue to both enchant and horrify viewers with their singular vision of a bleak humanity framed by violence, sexuality and isolation.
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Istanbul has undergone enormous socio-political and demographic change in recent years, which makes “Métamorphosis” a fitting theme for an exhibition there. The nine Canadian artists assembled by the Montreal curator Louise Déry around this fertile word shed light on these extraordinary shifts via two specific axes: the transformation of nature and landscape and the mutation of the human figure.
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Nicholas Serota’s position as Tate’s director has allowed him to reprise and amplify some of his favourite shows from his previous job at Whitechapel. Important exhibitions of the work of Max Beckmann, Howard Hodgkin and Frida Kahlo took place there under Serota’s directorship and these artists have in recent years been treated to Tate retrospectives.
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The Nova Scotian photographer Lorraine Field recently returned from Turkey, where she lived and worked for five years. In her exhibition “Body/Field: Temporal Inscriptions,” held in 2008 at the Leica-sponsored Photography Center in Istanbul, she offered a new take on a familiar subject: the figure in the landscape.
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Roe Ethridge is an easy artist to misread or misunderstand. His images are wildly diverse in subject and vary in technique. His straightforward photographs are connected in obscure, labyrinthine ways, which can be confusing, but they reward sustained looking.
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When Nigel Cooke burst onto the British art scene in
2004 with a show in Tate Britain’s “Art Now” series, a
small group of devoted collectors was already on to
him.
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Franz West began his career in the 1960s in the intense climate of “Wiener
Aktionismus” or Vienna Actionism, an influential performance movement
that involved figures such as Hermann Nitsch, Günter Brus and Valie Export
and was the impetus behind a whole generation of Austrian artists.
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For more than 30 years, Thomas Nozkowski has practised a highly
personal form of abstract painting.
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In April 2008, Kristan Horton presented his first solo
exhibition in New York, at the downtown gallery
White Columns.
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Talk to take place January 26 at the Art Gallery of Ontario
Canadian premiere of new Marina Abramović documentary to be fêted February 22 at the TIFF Bell Lightbox
All our best wishes for the new year to come
Talks by Dan Cameron and Annie Cohen-Solal, free gallery programs among highlights of 2011
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Free exhibition at the Power Plant highlights our nation’s emerging painting stars
Award in Portrait Photography category recognizes Donald Weber's artist project in the Fall 2010 issue
More than 300 GTA teens enjoy free downtown-Toronto gallery talks during this fall’s School Hop
In 2010, at the age of 35, Toronto artist/DJ/promoter/activist Will Munro succumbed to brain cancer. Here, David Balzer reviews the first big survey of Munro’s work, which makes apparent how talented, prolific and perceptive this creator was.
The Dulwich Picture Gallery’s recent Group of Seven show was one of the UK museum’s biggest hits ever, drawing 41,000 visitors. The attention was deserved, writes Sarah Milroy, as the exhibition offered new insights even to seasoned Canadian-art observers.
The Occupy movement has galvanized the way we think about haves and have-nots. But where do artists fit in? As Joseph R. Wolin observes in this review of David Altmejd’s show at the Brant Foundation, context can be as powerful as content in determining the split.
What happens to identity when our relationship to land and language is disrupted? This is a key question raised in “A Stake in the Ground,” an exhibition of works by 25 First Nations artists, curated by Nadia Myre, that’s currently at Montreal gallery Art Mûr.
Our education and careers site has just posted more stories and tips to help students achieve a great winter term. Highlights include a profile of internationally renowned fashion designer Jeremy Laing, a Q&A on grad schools and more.
