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Critic and artist Sholem Krishtalka reviews the current Will Munro exhibition at the AGO, finding in this first posthumous show an important opportunity to view Munro’s work as part of a canon—one that is diverse, porous, insistent and influential.
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In his recent Toronto exhibition, Vancouver artist Holger Kalberg presented hybrid works of painting and collage. As Vanessa Nicholas observes, Kalberg’s bold works paid homage to both mediums’ roots while offering a fresh, contemporary feel.
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Teri Donovan’s recent Hamilton show featured many haunting subjects—shadowless women at ghostly socials, young girls suspended in horizonless grounds and more. Sky Goodden reviews, finding a compelling mix of energy and ennui.
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The New Museum’s spring blockbuster, “Skin Fruit,” drew conflict-of-interest criticism in droves; it was based on trustee Dakis Joannou’s collection and curated by collected artist Jeff Koons. Now, curator and critic Joseph R. Wolin wonders whether the ethical risk was worth it.
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The sixth Berlin Biennale attempts to question art’s relationship to reality and pinpoint wider societal self-deceptions. As Diana Sherlock reports, the massive show contains much to disrupt common assumptions of our crisis-prone times.
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In Swiss artist Roman Signer’s topsy-turvy oeuvre, chaos is a courted guest and disaster is never far away. But as Mitch Speed observes at an unusual Zurich show of Signer’s models and drawings, the artist also has an unapologetic and energizing fascination with the world.
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The National Gallery’s “Pop Life” promises a clearer picture of art and the market, along with a bit of controversy. As Jon Davies observes, the show struggles to find coherency and currency—but some rich experiences redeem the effort.
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A big summer exhibition of Toronto artists centres on experiences of the built environment. Yet as Sky Goodden writes, the show deals as much with absence and illusion as it does with the physical and the concrete.
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Human interactions can be laced with feelings of unease, an anxious mood that several video artists embrace in the group show “This is uncomfortable.” Adi Baker reviews, noting that the exhibition induces a sense of both danger and delicacy.
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Might Kitchener-Waterloo be a centre for experimental abstraction? Robert Linsley ponders the odds as he surveys a recent show of work by three emerging artists in the area—Barb Hobot, Lauren Hall and Patrick Cull.
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Andrew Morrow once trained in classical animation. As Petra Halkes observes, it was perhaps just a matter of time before Morrow’s canvases turned into movies—or video projections, as was the case in his most recent show.
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Angst, unbridled freedom and impending doom are just some of the potent emotions at play in “Drama and Desire,” the Art Gallery of Ontario’s exhibition of more than 100 works inspired by classic theatricality. As editor Richard Rhodes reports, the show’s dramatic staging is a refreshing change that sees the gallery embracing a new standard of panache.
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In her recent solo show at Vancouver’s Republic Gallery, artist Yedda Morrison debuted a unique series of photographs of artists creating copies of historical paintings. Critic Rachel Rosenfield Lafo reports that Morrison’s work puts a fresh spin on issues of originality, ownership and reproduction.
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The Istanbul-born, London-based video artist Kutlug Ataman traded in his trademark large-scale installations for a reserved presentation style when he recently showed his work at London’s Whitechapel Gallery. But as Gabrielle Moser reflects, the video piece still resonates with messages about the evolving nature of family and official histories alike.
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When humans, animals and the natural world meet, the outcome can be unpredictable. The Power Plant’s current exhibition, “Adaptation: Between Species,” charts the effects of these interspecies relationships with a survey of works by 22 international artists. As Sky Goodden notes, the results range from the intense to the introspective.
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Join us on Thursday, September 23, and Saturday, September 25, for exciting events that celebrate the visual arts.
Canadian Art’s under-40 patron group launches its second year with a program of extraordinary behind-the-scenes art events.
Congratulations go to winner Pandora Syperek and runners-up Deirdre McAdams and Vency Yun.
The Canadian Art Foundation, with RBC, is pleased to announce the 15 semifinalists in the 12th annual RBC Canadian Painting Competition.
In this video, recorded on Saturday, May 29, 2010, as part of the Canadian Art Gallery Hop in Vancouver, Kitty Scott, director of visual arts at the Banff Centre, and Douglas Fogle, chief curator of the Hammer Museum, joined artists Lisa Anne Auerbach and Althea Thauberger to offer their thoughts on the artist’s role in the world.
Canadian Art is currently seeking an Online Production Manager to join its team. Applications are due September 10, 2010.
Canadian Art magazine is currently seeking an editorial professional to join its team. Applications are due September 15, 2010.
Canadian Art’s under-40 patron group had a fun make-your-own dining experience with one of Toronto’s hottest young artists
Learn about the influences that shaped the PS1 curator’s thinking as he prepared for his exhibition “The Talent Show”
Join us September 23 for a gala benefit and September 25 for a free day of talks at galleries citywide
In recent years, both the Dia and MASS MoCA have mounted tribute exhibitions to late American artist Sol LeWitt. This week, Mercer Union wraps up its own notable homage, which recreates a 1981 wall drawing LeWitt did for the then-fledgling space.
For the past number of years, there's been controversy regarding the future of Halifax’s Khyber Arts Society. Seen by many as a key venue locally and nationally, the Khyber was back in the news this month as a city report recommended a new three-year plan for its space.
Play and strife come together, DIY style, in Todd Tremeer’s Little Wars (Make Me), an interactive project that debuted this month at the Art Gallery of Greater Victoria. In it, viewers can collaborate on a wall-sized battle mural and “bring the war home” via paper-cutout soldiers.
Summer is often marked by contrasts, a dynamic that the Kitchener-Waterloo Art Gallery seems to pick up on in its current pairing of solo shows: John Kissick’s manic, multifaceted paintings and Gwen MacGregor’s calm, geoscience-toned fieldwork.
MKG127 acknowledges Toronto’s above-average summer temperatures with “Heat,” an exhibition that ironically offers some cool respite while displaying works that evoke bubbling tar, existential crises and blistering guitar solos.
