-- Advertisement -- | ||
|
|
|
-- Advertisement -- | ||
-- Advertisement -- | ||
|
|
|
|
-- Advertisement -- | ||
Jon Rafman’s work enjoys a deservedly high profile at this year’s Contact Festival. As Saelan Twerdy observes in this review, Rafman’s stunning, and often funny, Google Street View scenes demonstrate how the Internet is making everything public, from information to intimacy.
Continue reading this article...
“Based on a True Story” in Oakville boasts the largest North American survey to date of Keren Cytter, the Tel Aviv–born artist known as one of today’s most intriguing video practitioners. Mariam Nader reviews, finding greatest hits and unexpected delights.
Continue reading this article...
The history of indigenous people performing for colonial audiences inspires "Sovereign Acts,” a current Toronto group show. As Max Mosher writes, the show—featuring Lori Blondeau, Adrian Stimson and others—is both campy and contemplative.
Continue reading this article...
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.
Continue reading this article...
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.
Continue reading this article...
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.
Continue reading this article...
For journalist Danielle Egan, Angela Grossmann’s collages conjure Mary Shelley’s Frankenstein. Here, Egan describes Grossmann’s current Vancouver show and examines how her figures highlight the wondrous in contemporary womanhood.
Continue reading this article...
Is it possible to track the demise of a medium based on its increasing prevalence in art galleries? If so, the physical book is well on its way, as indicated by several recent exhibitions. In this review, David Balzer studies one such show on now in Montreal.
Continue reading this article...
A hereditary chief and renowned Kwakwaka'wakw carver, the late Doug Cranmer was a master artist who preferred to refer to himself as a “doodler” and “whittler.” Here, Susan Walker reviews his Vancouver survey, "Kesu'," which means “wealth being carved.”
Continue reading this article...
Currently on at Cooper Cole Gallery in Toronto is an exhibition that juxtaposes two young Canadian artists of distinctly different practices—one more emotional and illustrative, the other more conceptual and abstract. Mariam Nader reviews.
Continue reading this article...
From Air Supply and Justin Bieber to soap operas and trashy mags, guilty pleasures often remain locked away in the hidden closets of the soul. Thankfully, writes Jason Schiedel, kitsch-embracing artist Laura Kikauka has purged her practice of shame.
Continue reading this article...
The typical take on translation favours something more lost than found. But as Tess Edmonson reports, the Deutsche Guggenheim’s recent show on translation showed it to be productive and positive for culture and language.
Continue reading this article...
Trained as a painter, Victoria’s Robert Youds has become known for light-based sculptures that exchange artifice and authenticity in fresh, new, surprising ways. John Luna reviews his current show at Deluge Contemporary, noting an array of illuminating effects.
Continue reading this article...
This fall, Halifax’s Eyelevel Gallery and Centre for Art Tapes joined forces with France’s Videospread to present three moving-image works in three public spaces through the city. As Lizzy Hill notes in this review of “3X3X3,” the effects were myriad.
Continue reading this article...
Who am I? What do I believe? How do I experience separations, whether between myself and others, or simply within myself? Identical twin Suzanne Zelazo mulls these questions in her review of Janieta Eyre’s current Montreal show.
Continue reading this article...
The winner will be published in our magazine and receive a $3,000 award
Toronto's most anticipated art party is slated for Thursday, September 20
Timothy Taylor's feature on Zacharias Kunuk and Douglas Weber's portfolio on Kunuk's hometown recognized
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
Jon Rafman’s work enjoys a deservedly high profile at this year’s Contact Festival. As Saelan Twerdy observes in this review, Rafman’s stunning, and often funny, Google Street View scenes demonstrate how the Internet is making everything public, from information to intimacy.
The auction record for contemporary Canadian art was broken earlier this month in New York with Christie’s $3.6 million sale of a Jeff Wall photograph. This week, Canada’s top houses head into their spring sales hoping to break more records.
“Based on a True Story” in Oakville boasts the largest North American survey to date of Keren Cytter, the Tel Aviv–born artist known as one of today’s most intriguing video practitioners. Mariam Nader reviews, finding greatest hits and unexpected delights.
The history of indigenous people performing for colonial audiences inspires "Sovereign Acts,” a current Toronto group show. As Max Mosher writes, the show—featuring Lori Blondeau, Adrian Stimson and others—is both campy and contemplative.
Dil Hildebrand is one brave painter. In his new show “Back to the Drawing Board (Reprise),” he stares down the old adage that no one wants to look at a green painting, let alone buy one. There's not just one green painting here—there's a room of them.
