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From traditional wildlife to shiny Ski-Doos, Kananginak Pootoogook documented contemporary Inuit life from the 1950s right up till his death in 2010. Now, a keenly observed memorial exhibition is on in Vancouver. Robin Laurence reviews.
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This weekend, London's Tate Modern wraps up its career survey of German painter Gerhard Richter, which will soon travel to Berlin and Paris. Here, Richard Rhodes reviews the bold oeuvre that managed to recalibrate painting as conceptual art.
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The term “reconstruction” can be associated with Civil War history, plastic surgery and financial crises alike. As Pete Smith reports, the term also gets fresh aesthetic definition in Nicole Collins’ new paintings, currently on view in Toronto.
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In his final fall report from New York City, David Balzer reviews a show of Francis Picabia’s late paintings at Michael Werner. As Balzer observes, Picabia’s production in the 1940s seemed to predict the kitsch and remix tendencies of postmodern painting today.
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It’s rare to find a talent who can bridge the structural interests of the art world with the hungers of popular audiences. But as Richard Rhodes found on a trip to the Paris suburbs last week, Danish-born film and video artist Jesper Just rises to the challenge.
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Dubai, home to the world’s tallest building, is a city known for extremes. This fall, fissures between its fantastical marketing and hard-labour reality were concisely revealed in an exhibition at Mercer Union. Cheyanne Turions reviews.
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Canadian filmmaker Guy Maddin and recent Banff Centre resident Ragnar Kjartansson were among the big highlights of this month’s Performa biennial in New York. David Balzer reviews, finding a performance-art festival that’s as vast as the city hosting it.
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Frank Lloyd Wright’s design for New York’s Guggenheim is famously rough on the artists exhibiting work there. But as critic Daniel Baird points out in this review, Maurizio Cattelan may have solved that problem in “All,” his current retrospective.
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New Orleans’ Prospect.2 biennial was founded to revitalize the city, and despite budget overruns and a recently resigned artistic director, reviewer Nancy Tousley finds that its artwork still shines brightly. Read on for her highlights of the event.
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Answering the prayers of art-opening attendees everywhere, a new hybrid gallery-bar in Toronto is filled with couches and chairs, as well as a casual, welcoming vibe. Here, Alexander Snow reports on Art and Drinks, John Oswald’s newest project.
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It’s often said that art-making is about making choices—what medium to use, what scale to deploy, what iconography to draw on. Here, Sarah Milroy reviews Micah Lexier’s current Toronto show, detailing the many decisions made along the way.
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Culture constructing ideas of nature is a common theme in contemporary art, but a new show in Kamloops, curated by Patrik Andersson, is taking it to the next level. Vancouver critic Robin Laurence reviews, finding a captivating mix of artists young and old.
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For Vancouver journalist Hadani Ditmars, “Surreal: Eight Artists in the Fantastical Tradition” prompts a different perception of Inuit art, and even a changed worldview. After seeing it, familiar urban landscapes can seem to shape-shift.
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The gentrification of Vancouver’s Downtown Eastside—and local curatorial strategies of addressing it—recently provided conceptual and satirical fodder for Seoul art duo Young Hae-Chang Heavy Industries. Here, Tess Edmonson reviews some of the resulting works.
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One of the most talked-about shows in New York this season was Thomas Demand’s Magritte-inspired curatorial project at Matthew Marks Gallery. David Balzer reviews, finding Canadian connections and impressive works along the way.
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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.
