Long-time design collaborators Rodney LaTourelle and Louise Witthöft have made a practice of working with colour and light. From the colour strategy they employed for the interior corridors at PlugIn ICA in Winnipeg, to the interactive art installation at the Halifax Central Library, the team uses colour to provoke new forms of interaction within public space. Keep Reading
I hadn’t guessed that AR Penck was quite such a hero in his hometown. It hadn’t even occurred to me when I was booked into Dresden’s Penck Hotel that the coincidence of names was anything more than that, a coincidence— but no, I found the lobby filled with marvellous canvases by the artist, named Ralf Winkler by his parents, a 1939 son of the city who died in 2017. Keep Reading
Mark Bradford ’s show “Cerberus” at Hauser & Wirth in London consists of nine paintings and a video. The video is Dancing in the Street, and has Martha and the Vandellas projected, recorded and filmed flickering across city blocks, fences and garages on a drive through Los Angeles. Keep Reading
In 1971, John Baldessari sent a letter to NSCAD, instructing students to write the phrase I will not make any more boring art on the walls of the school’s Mezzanine Gallery. Keep Reading
Certainly the most audience- pleasing but also one of the most thematically revealing works in Hajra Waheed’s “Hold Everything Dear” is You Are Everywhere (a variation), 2012–19, an immersive installation inviting audiences to lie on a wooden floor, which is lit to resemble a starry sky. Keep Reading
Gamesmanship—the exploitation of weakness through strategy rather than brute force alone—is older than chess, but the game has its origins in that approach. Initially a prestigious pastime in India during the 6th century, and called the “game of kings” in its origin-variation Chaturanga, by the end of the 10th century chess had spread to Persia and then to Europe.
In Sylvia Matas’s exhibition “Stop the Clock and Open Every Window” (YYZ Artists’ Outlet), the walls of the gallery space divide the work into four neat groups. This distinction appears at first to replicate divisions among media (drawing, photography, text, video, paper cut-out), but each wall elides such neat categorization.In Sylvia Matas’s exhibition “Stop the Clock and Open Every Window” (YYZ Artists’ Outlet), the walls of the gallery space divide the work into four neat groups. This distinction appears at first to replicate divisions among media (drawing, photography, text, video, paper cut-out), but each wall elides such neat categorization.
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.
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