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In our fall 2010 magazine feature "Waiting in Ukraine," writer Noah Richler follows the photographer Donald Weber into the charged atmosphere of an interrogation room in Dniprodzerzhynsk, where the artist has been working on a series of portraits since 2004. This overview of the artist's work in Russia and Ukraine from the past four years spotlights his probing look into the complexities of human behaviour.
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As Deborah Campbell explains in her fall issue article “Reclamation Artist,” Vancouver-based artist Jayce Salloum has a long track record of not only exploding but exposing the political and social dynamite of Middle Eastern and Western realities. Here, a selection of six images from his recent ROM exhibition offers poignant evidence of Salloum’s moving world view.
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Veteran Toronto photographer Arnaud Maggs is perhaps best known for his remarkably detailed colour photographs of vintage and found objects which blend poetic beauty with conceptual form. Here, a portfolio of seven works charts the artist's creative output from the past three decades.
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This week, finalists for the 2010 Sobey Art Award were announced: Daniel Barrow, Patrick Bernatchez, Brendan Fernandes, Brendan Lee Satish Tang and Emily Vey Duke and Cooper Battersby. Here, our portfolios for each artist in this tough-to-call race.
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Daniel Barrow, the finalist for the 2010 Sobey Art Award representing Prairies and the North, has gained increasing notice for low-tech works that combine comic-book aesthetics with richly poetic fantasy. Take a look at this portfolio to find out more.
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Patrick Bernatchez is the Quebec-region finalist for the 2010 Sobey Art Award. Known for dark, eerie works that haunt overlooked spaces in one of Canada’s biggest cities, Bernatchez is one to watch. Find out more with our portfolio of his key works.
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The 2010 Sobey Art Award finalist for the Ontario region, Brendan Fernandes, has won well-founded attention for installations, videos and sculptures that tease apart migration and post-colonialism. See examples of his work in this award-finalist album.
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Brendan Lee Satish Tang is the 2010 Sobey Award finalist for the region of West Coast and the Yukon. Tang is known for unique ceramic sculptures that evoke both manga comics and Ming dynasty vases. Find out more in this award-finalist portfolio.
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Emily Vey Duke and Cooper Battersby work conceptual magic on everything from low-tech animation to taxidermied-animal sculptures. Their deftness has won them a place as Sobey Art Award finalists for 2010; find out more with this portfolio.
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There is a certain amount of dark magic in the work of Montreal- and Brooklyn-based artist Marc Séguin—aspects of the criminal, the occult and even the insane. This portfolio, a supplement to James D. Campbell's feature in our summer 2010 magazine, delves further into Séguin’s ominous vision of humanity.
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In our summer 2010 magazine cover story, contributor Adele Weder unpacks the abstract imagery of Vancouver painter Elizabeth McIntosh. This portfolio of new paintings and installation views from McIntosh's recent solo exhibition expands on her distinctive approach to the canvas.
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Montreal’s reputation as a centre for abstract painting gets an update this summer with the 16-gallery exhibition series “Extreme Painting.” This detailed online show guide and preview portfolio supplements our summer magazine feature on this compelling event.
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Calgary photographer Daniel Smith takes portraits of artists to the next level with his interactive 360° panoramic studio views. In his portraits of painter Mark Mullin, who is featured in the summer 2010 issue of our magazine, one can zoom in on Mullin's paint tubes, bulletin boards and more. The upshot? Popular image technology that gives us a new view of fine art.
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Althea Thauberger’s striking collaborations with Canada’s women soldiers in Afghanistan made the cover of the spring 2010 edition of Canadian Art. Here, we offer more images from Thauberger’s compelling reworkings of our war-artist tradition.
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In the spring 2010 edition of Canadian Art, Calgary painter Chris Cran profiles his longtime Cowtown colleague John Will, a figure who ranges from painterly sage to art-world wise guy. This special online portfolio shows the wide swath of Will’s work.
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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.
