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Hamilton is the only Canadian stop for a new exhibition, curated by NYU photo chair Deborah Willis, that interrogates notions of beauty and blackness. As reviewer Sally Frater observes, Willis’ approach provides antidotes to some longstanding art conundrums.
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David Merritt is having a quartet of related exhibitions in southern Ontario this year. In his review of the project’s first iteration, “shim,” Sky Glabush marvels at Merritt’s ability to meander between objective clarity and deferred, slippery potential.
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Using lines of photo-luminescent tape in a darkened space, Scott Rogers’ installation Wireframe evoked retro-futurist imagery of the 1980s. Now, Mikhel Proulx reflects on how Rogers effectively mashed up real place and time with its representation.
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Outwardly, the group show “Monster” abounds with man-eating demons, hair-pulling ghosts, wart-covered witches and black-tongued sea creatures. But as Robin Laurence observes, the exhibition offers some inner psychological ogres to meditate on as well.
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Marcel Duchamp and John Cage spring to mind when viewing Guido van der Werve’s latest film at Prefix. As Bryne McLaughlin observes, the intertwining of life, art, chess and music in van der Werve’s work invites rich comparisons.
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Alberta’s abuzz with the opening of the redesigned Art Gallery of Alberta, including its inaugural Janet Cardiff and George Bures Miller show. As Diana Sherlock reports, there’s some fear and loathing set loose amidst the museum’s new, and quite laudable, finery.
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Gabriel Coutu-Dumont filtered thousands of globetrotting photos down to a mere 275 for his current touring show. But as critic Amy Fung reports, Coutu-Dumont’s exhibition is at its best when it focuses on the artist’s photographic—rather than curatorial—skills.
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In the 1950s and 1960s, Vancouver was the site of fruitful cross-disciplinary activity—artists wrote, and poets made art. Now, Adele Weder reviews a semiotic-aesthetic homage to the era, one curated by Hard Core Logo author Michael Turner.
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In the latest installation at Tate Modern’s Turbine Hall, Miroslaw Balka presents an abbreviated version of the lifelong walk from light into darkness. Now, reviewer Eldon Garnet raises pointed questions about the work and its approach.
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In her first Toronto solo show since completing an MFA at Hunter College, Kristine Moran presents several bold new paintings. As critic Carol-Ann M. Ryan reports, Moran successfully captures allure, sensuality and looming danger, among other elements.
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“Mirroring,” the latest exhibition by Victoria’s Mowry Baden at Diaz Contemporary, consists of no mirrors—at least none of the typical kind. Instead, Bryne McLaughlin notes, Baden’s sculptures offer the idea of reflection as a tactile experience.
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There’s many ways of looking at paintings. But as reviewer Terrence Heath observes at Frances Thomas’ current exhibition, sometimes the best way to look is simply the longest—an approach that allows Thomas’ sense of the infinite to shine through.
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This fall, a Toronto exhibition matched contemporary film animators with members of the Painters Eleven like Walter Yarwood and William Ronald. As Ashley Johnson reports, the result was an engaging show linking yesterday and today.
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Tacita Dean’s installation in Montreal focuses on the late dancer and choreographer Merce Cunningham. As reviewer Laurie Watson reports, Dean’s skill lies in calling attention to aspects of art and performance that are often overlooked.
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Scott McFarland’s images offer up contradictory manifestations of nature: dark skies over sun-dappled fields, oddly splayed shadows and a few nonchalant human clones. Now, Adele Weder assesses his current Vancouver survey and its epic, photographic fictions.
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Eleven films, two shorts, a public performance and two workshops to take place at the Alberta College of Art + Design
Hear a bestselling author lecture about the Group of Seven, and his related book, on March 25
Walker Art Center curator to visit Toronto from May 26 to 28
Panel, book launch, gallery tours and reception to take place Saturday, May 29
Straight from the Sundance Film Festival, Tamra Davis' moving documentary Jean-Michel Basquiat: The Radiant Child pays homage to her friend, the legendary artist, in his own words
Two top documentaries on Swiss art will be followed by a special Q and A with Beyeler Foundation head Samuel Keller!
Whimsical, fascinating film to premiere at the Reel Artists Film Festival
World, North American and Canadian premieres to be introduced by specially invited artists, authors, curators and directors, including Susan Vogel, Joanne Tod and Barbara Fischer.
This fall, Canadian Art’s young patron group visited the home and studio of Jason McLean, where they toured the artist’s personal collection.
Canadian Art launched its much-anticipated winter issue at Leo Kamen Gallery in Toronto on Wednesday, December 16, 2009.
Libraries of books have been written on abstraction in painting. But it’s abstraction in photography that gets the focus with “Photogenic,” a Vancouver show that features 1920s work by László Moholy-Nagy alongside contemporary artists’ prints.
Hamilton is the only Canadian stop for a new exhibition, curated by NYU photo chair Deborah Willis, that interrogates notions of beauty and blackness. As reviewer Sally Frater observes, Willis’ approach provides antidotes to some longstanding art conundrums.
David Merritt is having a quartet of related exhibitions in southern Ontario this year. In his review of the project’s first iteration, “shim,” Sky Glabush marvels at Merritt’s ability to meander between objective clarity and deferred, slippery potential.
The spring issue of Canadian Art hits newsstands and computer screens across the country this week, offering many must-read articles. Web extras on cover artist Althea Thauberger and the 2010 Governor General’s Awards also excite.
In his latest solo show, Adrian Norvid mashes up art-world fundraiser antics with exquisite-corpse techniques. Add in DIY flair and painstaking attention to detail, and you’ve got another wild voyage into Norvid’s wacky parallel universe.
