Rosie Lee Tompkins and the Ordinary Sublime
It’s difficult now to fully imagine what it was like to see Rosie Lee Tompkins’s quilts for the first time—not on a museum’s clean white walls but draped over a card table in a flea market or spread out on a couch in a living room. Though far less exotic, I imagine it must have been a little like hearing Robert Johnson on a Mississippi street corner or in a juke joint in the 1930s: you would be startled, and even baffled, by the sudden and unexpected presence of something profound. Keep Reading
When I was in high school, I spent a day in the office of a pathologist at a small, drab hospital. What struck me most were the huge jars set on shelves on one side of the pathologist’s cluttered and windowless basement office. They were filled with formaldehyde and diseased organs—brains, hearts, lungs, livers, kidneys and things I could not begin to identify. Keep Reading
The Patti Smith I encountered when she opened her hotel-room door in Ottawa this past November, while she was in the middle of a whirlwind, eight-city international tour with Neil Young and Crazy Horse, was hardly the frenzied, spit-spraying performer she was in the 1970s—and, incredibly, still is. Keep Reading
Curated by Barbara Fisher, Grant Arnold, Catherine Crowston, Michèle Thériault, and Jayne Wark, and organized by the Art Gallery of Alberta, Justina M. Barnicke Gallery and the Vancouver Art Gallery, in partnership with the Leonard & Bina Ellen Art Gallery, Halifax UNK, “Traffic” featured the work of Tom Burrows, Vera Frenkel, Jeff Wall, Roy Kiyooka, David Askevold, Robert Smithson, Greg Curnoe, Joseph Kosuth, Michael Snow, Ian Carr-Harris, Colin Campbell Lisa Steele, Joyce Wieland, Theodore Wan,Gary Neil Kennedy, Lawrence Weiner, and Sol LeWitt. Keep Reading
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