Chinese landscape painting transmutes into a fresh, hybrid language in British Columbian artist Rick Leong’s new solo show, “Carmanah,” at the Montreal-based gallery Bradley Ertaskiran. Keep Reading
Videos and inkjet prints by the late Karachi-based artist Madiha Aijaz examine, among other things, the complex cultural, political and linguistic legacy of colonialism as revealed in her city’s urban spaces.
Vancouver-based Althea Thauberger’s ambitious video touches on the communal, relational and, in some ways, aspirational meanings associated with Karachi’s Capri Cinema. Keep Reading
Photographer Scott Caruth’s first monographic work , Molatham, published by Trolley Books, is an archive of the social practice of studio portrait photography in the Palestinian West Bank, and a personal account of research conducted by Caruth in Palestine over a period of six years. Keep Reading
Every day Jason Blake is shot in the back and we are taught that late capitalism will take only more spectacular and grotesque forms in decline. The art of Taqralik Partridge, born of community-inflected forms from hip hop to Inuit storytelling, knows this. Keep Reading
Andrew Burke explores this rich legacy of ’70s media in his recently published book, Hinterland Remixed: Media, Memory, and the Canadian 1970s. Burke, a professor of cultural studies at the University of Winnipeg, is interested in analogue media in the “afterglow” of ’67. Keep Reading
Everyone I know pretty much loves the photographer, filmmaker and writer Moyra Davey. She’s singular in her coupling of erudition and vulnerability; also in her erasure of the gap between art, writing and life. This collection of her essays— from Fitzcarraldo Editions and New Directions Publishing—will only strengthen the consensus. Keep Reading
“RELATIONS: Diaspora and Painting,” more specifically, examines painting, identity and how the medium can become informed and revitalized through cultural memory. Keep Reading
The American painter Agnes Pelton’s quasi-abstract symbolic landscapes enchant utterly. Keep Reading
Jon Pylypchuk’s “Waiting for the Next Nirvana” at the Petzel Gallery in Chelsea, Manhattan, debuted a significant new body of work in painting and sculpture. It was titled after the Generation X article of faith that the last great rock band was Seattle’s Nirvana. Keep Reading
Ten painters, ranging in date of birth from Daniel Richter in 1962 to Tschabalala Self in 1990, make up the Whitechapel Gallery’s survey. Keep Reading
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