An Interview with Lindsay McIntyre
Lindsay McIntyre’s films are familial and cultural meta-narratives; at the same time that they tell the story of her Inuk great-grandmother’s life, they also tell the story of their own making. Keep Reading
‘Aperture Conversations: 1985 to the Present’ Edited by Melissa Harris and Michael Famighetti
In this suspicious and cynical time it is obligatory, in the interests of transparency, to admit to something referred to as “full disclosure.” Since I am a creature of my time, here is my admission: I am a print interview freak. Keep Reading
Alex Bierk has both feet firmly planted in the present because he has two feet rooted in the past. His past was a difficult one: an accomplished family with six siblings to emulate, and fail to measure up to; the death of both parents four years apart; and a lengthy descent into various addictions followed by a nine-month-long rehabilitation. Keep Reading
Luther Konadu, the Winnipeg-based photographer and writer, is on a roll. In 2019 he won three national competitions: BMO’s 1st Art!, the Scotiabank New Generation Photography Award and the Salt Spring National Art Prize. He has done residencies at Salt Spring Island and at Gallery 44 in Toronto, where he was writer-inresidence, and was commissioned by the ‘New Yorker’ magazine to do a portrait of Roberto Carlos Lange, the electronic folk pop singer who performs under the name Helado Negro. Keep Reading
For me it all started in 1991 in Munich at the Glyptothek. First visit there and unsure about the city with its place as a fertile bed for the rise of the National Socialist Party, indeed its foundation was there in 1919. Even though it was May, the weather had turned and we were faced—dressed in light jackets, jeans and sneakers—with angled sheets of rain and snow… Keep Reading
It takes four minutes and 14 seconds before the title of Avi Belkin’s brilliant documentary about legendary American journalist Mike Wallace finally turns up. That interval is a capsule of what the remaining 127 minutes will reveal: that Wallace’s 60-year-long career was more complicated than you could ever guess by simply watching the game-changing, compelling interviews he did on 60 Minutes, beginning in 1968 and continuing until his retirement 37 years later. Keep Reading
The Intimate Delight of Janet Nungnik’s Textile Art
At school, she was eventually consoled by the peaceful attitude of a teacher. “His name was Mr. Webster and he was always so calm. After I saw him, I was interested in learning English.” Then she adds, “My classmates were like me, abducted from their homeland. But we connected really well and we had an opportunity to have fun each day.” Later on, while she was home on breaks from middle school in Churchill and high school in Yellowknife, her father insisted that she and her sister and brother maintain their first language—written and spoken. Not incidentally, she signs all her work in Inuktitut syllabics. Keep Reading
The Painting and Photography of Elaine Stocki
In this exhibition recently opened at the Canadian Cultural Centre in Paris, Elaine Stocki—formerly from Winnipeg, now living in Los Angeles—here proposes what appear to be two equally emphasized streams of work, one of images produced photographically, and the other and more recent of the two groups in the form of paintings. It’s tempting to retain the simple notion that photography is about looking and recording the look, and painting is about touching and the immediate touch. Keep Reading
The Changing Language of Tracey Emin’s New Paintings
Tracey Emin’s new paintings, recently exhibited as part of the exhibition “A Fortnight of Tears” at White Cube, London, reveal an uncommon depth of feeling. Yes, her art in all its many media has always been emotionally demonstrative; you always knew what was on her mind—the passions of desire, abandonment, pleasure, revenge, or whatever was at stake in any given piece—and the work declared the feeling… Keep Reading
an Interview with Neo Rauch
Two things are immediately apparent when you look at the art of Neo Rauch: his technical skills are virtuosic and the paintings are consistently enigmatic. Visually, there is much to see. The paintings and large drawings are activity-laden; every character in his compositions is doing something, the kind of work that moves objects around but to no evident purpose and with no apparent outcome. Structures get built, costumes are put on, men and women pay rapt attention to what they are doing. But for the viewer nothing adds up to anything that could be declared a readable narrative. Keep Reading
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