The Collaborative Projects of Robert Frank and Gerhard Steidl
In the summer of 2014, the acclaimed German publisher Gerhard Steidl approached NSCAD University with an enticing proposition. Would NSCAD be interested in premiering a pop-up exhibition of artwork by Robert Frank? The work would be brought to the university, installed by Steidl and his staff, and Robert Frank and his wife, June Leaf, would attend the opening. Steidl generously donated the exhibition, with no expense to the University, in part as a strategy to expose a new generation of artists to the work of Robert Frank, in an exhibition format that was affordable, fluid and relaxed. The exhibition would also renew an ongoing relationship that Robert Frank has had with the Nova Scotia College of Art and Design since 1973. Keep Reading
Tammi Campbell is known for works that look like Modernist hard-edge paintings in progress, with particular focus on the Modernists’ use of tape. Included in this series are meticulous, halffinished greyscales where masked sections are readied for a new application of paint. Other pieces are explicitly based on Frank Stella’s signature stripe paintings but made with what appears to be masking tape alone. The works exist in a state of anticipation, awaiting the application of pigment and the eventual peeling off of all the tape. Keep Reading
On Not Walking With Our Sisters
Anishinaabe artist Rebecca Belmore and Cree curator and critical writer Richard W Hill’s criticisms of “Walking With Our Sisters” reveal perplexing issues in Indigenous cultural politics that are barely discussed in public—the challenge of the secular Native, and Indigenous criticism of Indigenous culture. Keep Reading
Erica Eyres’s short films tend to hint at stories which are hard to pin down, and do so with a certain awkwardness which may arise naturally and which Eyres chooses not to edit out. She prefers to embrace an aesthetic which seems somewhat amateur and slightly off-kilter but is still visibly produced, more akin to bad TV or instructional videos than to the home products of the Internet. Keep Reading
The Artful Life of Colleen Heslin
Today she is a painter who stitches her pictures together. But for many years, the artist Colleen Heslin was perhaps best known, around Vancouver art circles anyway, for her project space called the Crying Room, a completely self-motivated curatorial project by an emerging artist studying at Emily Carr, intent on showing other emerging artists. Keep Reading
The Montreal based painter, Chris Kline, has mentioned his attraction, his listening to the Jacob van Ruisdael painting The Linen Bleaching Grounds Near Haarlem, 1670. In this landscape painting, the rectangular fields or grounds are shown from a distant viewpoint, with their hundreds of rectangles of whitening fabric spread out on the earth in grids, under tumultuous cloudy skies. This concern with fabric and textiles is a theme we see unfolding in the works of the painters Chris Kline and Dagmar Dahle. Keep Reading
The Nomadic Paintings of Martin Golland
Over the last 10 years, Golland has executed what are arguably some of the most restless paintings being made today. Profoundly nomadic in their mien, with contents splayed out like warped architectures gone awry, they extrude upon us like rude kinetic tropes of the built world. Keep Reading
The two-person art collective who show as Blue Republic are partners in life as well as making. Married couple Anna Passakas and Radoslaw Kudlinski have been creating a wide range of provocative, beautiful and genre-breaking work for years. Keep Reading
Gordon Smith and the Tradition of Painting
Bordered by tangled vegetation, the scene is full of the natural energy and cultural incident that compel Smith’s eye, although he insists that he is giving up representational painting. He repeats that intention three times, like a mantra, and then indicates a crowd of recently completed canvasses, leaning against the far wall. Keep Reading
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