Articles

Nature’s Exuberance Uncentring the Anthropocentric

Giovanni Aloi speaks of our alienation from nature, of our having extracted or drawn ourselves outside it. Can we blame the apple? How did it come about or why, that we have removed ourselves from nature to use and overuse it and see now the consequences?
Found Everything

Finding herself in an enclosed space, Lynn Hershman Leeson finds a way, at whatever cost, to break through any barrier that she comes across.
Barry Schwabsky’s PictureLibrary: Bodies and the How of Seeing

In contrast to Scheurwater’s overriding propensity toward brazen confrontation, Scheynius cultivates an aesthetic that is sidelong and elusive even in showing the naked body—the artist’s own or that of others.
Figures and Faces

Shearer’s internalized visual memory is capacious, an archive of its own that has absorbed the history of images as far back as images’ own record.
On Jon Pylypchuk’s Ghosts

Looking at Jon’s ghosts, made during the pandemic and cast in bronze, I feel again this grief that just won’t quit.
The Wholly Trinity

No artist since Arcimboldo has gone as far as Logan in grafting together the human, the animal and the botanical.
“A Pea Can Be Chopped Up and Reassembled Into The Sun”

How is one assembled? How does one assemble themselves? What do we do when the pieces oppose one another?
“Holding a line in your hand”

Amid all of the stress, strife and suffering there were admittedly a few bright spots and one of them surely had to be a painting exhibition titled “Holding a line in your hand” at the Kamloops Art Gallery.
“Picasso: Painting the Blue Period”

They are, rather, the most straightforwardly humanist of any of Picasso’s paintings. They are meditations on what is most basic: flesh, food, drink, earth, sunlight. They depict human beings to sight, touch and taste.
Bonavista Biennial

Organizing a festival during a pandemic must have been a massive logistical feat, but the experience of it almost allowed me to forget that.
Patrick Dunford

It is in the slightly skewed, dominant and unstable perspective where the style comes closest to capturing the psychological terrain of deindustrialization: the loss of identity that comes with the loss of jobs and community and a solid sense of place.
Mary Shannon Will

Even viewers who thought they knew her work well found revelations in its remarkable consistency and in the coherence of her exploratory trains of thought.

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