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In their post-structural opus A Thousand Plateaus: Capitalism and Schizophrenia, the French theorists Gilles Deleuze and Félix Guattari characterized nomadic movement as “maintaining the possibility of springing up at any point.”
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The magic of Douglas Walker’s paintings lies in their stunning resemblance to blue-and-white Delftware, their surface effects and, of course, the force of their imagery.
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The interactions of both the camera and the viewer with architectural space are at the heart of Lynne Marsh’s video work.
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Nick Ostoff ’s exhibition at Diaz Contemporary suggests an index, a compendium of possibilities.
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Curated by the Toronto artist Micah Lexier, “Here Now or Nowhere” took over Grande Prairie, Alberta—a natural resource–based town, population 50,000—during the dark days of winter.
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A playful Daniel Buren installation that riffed on the building’s exterior by overlaying colourful geometric patterns onto an attention-grabbing skylight was an indication of the contemporary spirit that swept over the Musée national des beaux-arts du Québec with “It Happened in your Neighbourhood: Contemporary Art in Quebec City,” a major exhibition that brought together nearly 50 artists who have connections with the city.
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My first encounter with Cliff Eyland’s bibliophilic work was in 1990, in the last of a series of exhibitions at Dalhousie Art Gallery surveying contemporary Canadian drawing.
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Few individuals move so effortlessly among the categories of artist, dealer and curator as Winnipeg’s Paul Butler.
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Whether it’s topiary, taxidermy or shipbuilding, Jim Breukelman shines a warm, humane light on his photographic subjects.
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This exhibition, curated by Benjamin Klein, offered an enticing cross-section of Christian Knudsen’s painting, sculpture, drawing and photography. A restless spirit, Knudsen gives the impression of a savant at work.
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In the last few years the photographers Hedi Slimane, Mario Testino and David LaChapelle, who are more often identified with fashion than with fine art, have mounted shows in major American and European galleries.
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Whither the “public” in “public art gallery”? Where’s the exhibitionism in exhibition-making? If the broadly understood purpose of art can be summarized by that old E. M. Forster chestnut “only connect,” why then does there seem, at times, to be so much disconnect between art and its audiences?
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The hush reigning over the Expression gallery space during Daniel Olson’s recent exhibition was of a specific nature: less silent contemplation and more, it seemed, a kind of anticipatory held breath.
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Sometimes an exhibition is so surprising, challenging and ambitious that it inspires wonder and open-ended reflection followed by a most mundane question: “How did he do it?”
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Erwin Wurm’s art combines a deadpan delivery with mischief, often pushing the limits of absurdity while maintaining an ostensibly solemn tone. Wurm has an extensive international exhibition history, but “Désespéré” (“Desperate”), presented by the curator Patrice Duhamel at Galerie de l’UQAM, is his first solo exhibition in Canada.
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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.
