Articles

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  “The Flesh of the World

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  Looking for Desire

  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.

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  Painting by Numbers

  Winnipeg-based multimedia artist Collin Zipp is intrigued by the things that can happen to paintings; they can be admired, appropriated, copied and stolen. In his recent work he has concentrated on a combination of the last two—copied and stolen—the former being a response to the latter.

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  That’s Photography with a D

  Ed Burtynsky

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  Hilarious Horror

  Shary Boyle & Shuvinai Ashoona: Their first opportunity to work together was in “Noise Ghost” at the Justina M. Barnicke Gallery in 2009, an exhibition curated by Nancy Campbell. “She had the insight to see the connections between our work,” says Boyle, and those connections are even more apparent in their recent collaborative work.

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  Limo Trimming

  In 2015, five Canadian artists, including Daniel Barrow, Meryl McMaster, Kristine Moran and David Hoffos, were chosen for consecutive bi-national residencies in Detroit. The fifth was Jon Sasaki, the Toronto-based multidisciplinary artist whose special talent is generating emotional weight out of conceptual strategies.

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  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.

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  Untruth to Materials or Tammi Campbell’s Art After Modernism

  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.

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  I Like the World and the World Likes Me

  Schutz’s paintings are real things, built subjects sometimes surprising her with their own volition and once done—there and actual.

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  Tal R

  That’s when you start to breathe with the painting. You start to let it go into its own pattern, its own repetition, its own kind of music. It’s the most beautiful moment when this happens because that means the painting sails away under its own direction. —Tal R

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  Elizabeth Zvonar

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  Michael Williams

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