Robert Enright

Keep Giving Signs

In 1981 Robert Frank travelled with his wife June Leaf to Saskatoon, where he showed films and talked about his work at an artist-run space called the Photographer’s Gallery. The night before his talk, at a casual dinner in his honour, he met a writer named Chester Pelkey and they immediately found common ground.
Luminous Being

In October of this year the Montreal-based, award-winning photographer Benoit Aquin published a book in Paris called La dimension éthérique du réseau par Anton Bequii (The Network’s Etheric Dimension by Anton Bequii).
The Hand Made’s Tale

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.
Words About Pictures

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.
Entanglements

A discriminating survey is the most tantalizing and revealing of exhibitions because it tells us much, and promises even more. Entanglements, which includes 60 paintings by the perennially gifted Gordon Smith, is one of those exhibitions; it indicates how much he has achieved in his distinguished career and for how long he has done it.
The Best Damn Way to Write History “Mike Wallace Is Here,” directed by Avi Belkin

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.
The City of Mything Persons

The fiction connected to a myth is what makes it true. The myth attached to the Winnipeg Film Group (WFG) is that it is a magical place inside a freezing and isolated city that produces eccentric filmmakers and unique films.
The Touching Art
Primal Work

Rebecca Belmore is among the most compelling and mesmerizing performance artists working anywhere in contemporary art. But “performance” is too limited and maybe even misleading a term. What she does when she performs is to embody a state of mind. She resists words like “ritual” and “ceremony” to describe her actions. What engages her is the time it takes to work through an idea, and nothing mediates the concentration necessary to achieve that purpose.
Notes on Fuseology

The painter, performance artist and filmmaker Carolee Schneemann met composer James Tenney in New York in 1955 and they maintained contact with one another until his death in 2006. Their relationship was especially intense in the mid-’60s, during which time they collaborated in a number of ways; in Fuses their lovemaking formed the core of a film that remains an enduring expression of both art and love; Tenney created the sound collages for Viet Flakes, 1965, and Snows, 1970, and performed in the New York production of Meat Joy, 1964, Schneemann’s orgiastic celebration of the expressive body.
The Bochnerian Not

I can’t begin this introduction to our interview with Mel Bochner by saying, “What interests me about his work is …” because everything about his work interests me. What I’ll address in particular, however, is, for me, the Gordian knot, the conundrum of his repeated assertion that “Language is not transparent.” The statement appeared first as a four-part work in 1969, bearing that phrase as its title.
Tracing meaning from Scratch

Rosa Barba doesn’t settle. The Italian-born, Berlin-based artist is constantly shifting her way of thinking about the art she is making. She is primarily a filmmaker and sculptor, and her inclination is to see how much expansive pressure she can put on the formal confinements of the two disciplines.

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