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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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John Currin made his name by challenging core beliefs of postwar avant-garde American art—among them, the belief that the art of the past had nothing to teach the present; that commerce was evil; and that the male artist should avert his prurient gaze from naked women. In this article from our Winter 2012 issue, Gillian MacKay reviews his fascinating 2011 survey at DHC/ART in Montreal.
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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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Glittering, seductive and mystical: crystals and mirrors are the loci of Jason
de Haan’s remarkably focused freshman exhibition with Toronto’s Clint
Roenisch.
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“Under the paving stones the beach!” So goes the slogan from Paris in May
1968: dismantle civilization and you will find paradise. For her show at Susan
Hobbs Gallery, Krista Buecking looks at the brick as a trope of cultural upheaval,
in the process suggesting a way to understand the political uncertainties of
our time.
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What would time’s face look like if it had one? A literal example might be an
analog clock; a more symbolic one might be hoary-bearded Father Time. “The
Surgeon and the Photographer,” Geoffrey Farmer’s latest exhibition at
Catriona Jeffries, gives us neither.
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Scott Rogers pays homage to Mel Bochner’s
Measurement Room (1969), with his own work, Wireframe: an installation that demarcates the physical dimensions
of Stride Gallery, this time as photoluminescent outlines.
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Micah Lexier’s I AM THE COIN fills the BMO Project Room’s main wall with
a grid of 20,000 custom-minted coins. It’s an impressive sight: light shimmers
over the coins, the reflections shifting as you move around, and little circles
of light are scattered throughout the room.
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The work of Judy Radul often troubles the process of how one comes to think of one thing as true and another false.
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Jordan Broadworth’s paintings remind me of the afterimages one experiences when glimpsing illuminated signage in the urban landscape.
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In recent years, re-enactment, in various guises, has become rich terrain for artists and exhibition-makers alike.
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The 63 works on display in Francine Savard’s mid-career retrospective, curated by Lesley Johnstone, express intellectual and philosophical concepts with refined, graphic precision.
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The world that we are confronted with on a daily basis is a complex, multi-layered chaos that is continually flexing and moving.
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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.
