James D. Campbell

• 

  Joani Tremblay

  The Chilean poet Pablo Neruda extolled the beauty and necessity of lemons in “Ode to a Lemon,” one of his most beautiful poems. He palpates the lemon in ways similar to what Joani Tremblay attempts in her recent work.Her paintings, brimming over with dollops of pure colour, are bewitching cornucopias of real and imagined places.

• 

  “About Face: Photography by Cindy Sherman, Laurie Simmons and Rachel Harrison”

  This welcome and timely gathering of the works of three important American feminist artists who have all engaged in a deep and sustained dialogue with the history of female representation—Cindy Sherman, Laurie Simmons and Rachel Harrison—constitutes a united front against imagistic orthodoxies and stereotypes.

• 

  “Szilasi & Szilasi”

• 

  “Our Happy Life: Architecture and Well-Being”

  Is happiness a fiction? Reflecting on “Our Happy Life: Architecture and Well-Being in the Age of Emotional Capitalism,” an important new exhibition at the Canadian Centre for Architecture, we might be inclined to think so, even if the exhibition is one allegedly in pursuit of that most august of ghosts.

• 

  Theaster Gates

  In this lean, powerful and timely exhibition, the Chicago artist, activist and practising urbanist Theaster Gates draws upon a daunting archive of Black American popular imagery with a decidedly feral and interrogatory eye. The making of cultural meaning and the legacy of Black images are meaningfully interwoven in “The Banner Waves Calmly.” It is the most recent in a continuing litany of similar interventions with, and articulations of, archival materials by Gates. In fact, the works presented in Montreal are integral to a more expansive production on display contemporaneously at the Prada Foundation in Milan.

• 

  “Body”

  The convulsive haunting that the subject of the body has induced in contemporary art, from Bruce Nauman (aesthetics of the manipulable body) and Carolee Scheemann (reclamation of the female body) to the present, has been replete. To bare the body is to foreground it as image, and in a world of pure appearances, it is a palimpsest of surfaces the immersive depths of which rest on top of further surfaces and do not lie fallow underneath.

  This exhibition, “Body,” is timely in asking us to consider once again the age-old and vexing question: what exactly is a body? Does it still resonate as one pole of a long-disenfranchised dualism? Is it simply the skin jacket for consciousness? Is it performative, in flux, abased, dismembered, abject, transcendent? The curator here invites us to inspect the body and its spaces in a manner undreamt of by 16th-century anatomist Andreas Vesalius.

• 

  “The Silver Cord”

  I had already written the following review when I learned that my friend, the painter and improvisational jazzman John Heward, had died. Instead of amending it, I thought it should stand as is. Here is my latest act of interpretation on work that I have followed closely since 1980.

• 

  “Greystone: Tools for Understanding the City”

• 

  Eve K Tremblay

• 

  Momenta: Biennale de l’image

• 

  Olafur Eliasson

• 

  Abdel Abdessemed

• 1
• 2
• 3

Haven’t found what you're looking for? Explore our index for material not available online.