An Interview with Meryl McMaster
Meryl McMaster knows what’s in a name. The names she has picked for three of her main bodies of work— “Ancestral,” “In-Between Worlds” and “Wanderings”—all articulate a relation to her past and present identity as it emerges from a self-described “dual heritage.”
Image and Object in the Art of Erin Shirreff
It’s my sense that engaging with Erin Shirreff’s work involves an act of faith. Her proposition that time is the elemental dimension in the embodiment of her works, that is, in bringing them into being, is one with which we agree if we commit to her work.
An Interview with Kent Monkman
Kent Monkman’s revisioning of the Canadian artistic, social, political and sexual landscape is the most radical rethinking of the way our society functions any artist has accomplished in the 150 years since Confederation.
States of the Art of Painting 2017
Asking painters about painting is like following Alice down the rabbit hole into her particular Wonderland: you never know what you’re going to encounter there. Of course, Alice fell into her condition, while we might be more deliberate in our choice.
Shirin Neshat and the Art of Tragic Euphoria
A sense of mysticism pervades all of Shirin Neshat’s work, in the gentlest but most persistent manner. It’s evident in her person—this small, delicate as a bird, formidable individual who enchants and engages an audience by making her ethical rigour very clear.
An Interview with Les Levine
Les Levine’s first encounter with art was in the studio of the Irish painter Jack Yeats. He was eight years old and knew nothing about art or artists but what he recognized, and could not yet express, was that art was different from anything he had ever seen
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