Articles

• 

  Robert Houle

  “Histories,” located just down the hall from a large exhibition of works by another Manitoba painter, and Group of Seven member, Lionel LeMoine FitzGerald, has the air initially of an intervention.

• 

  “NSCAD Lithography Workshop: Contemporary Editions”

  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.

• 

  Hajra Waheed

  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.

• 

  Wayne Thiebaud

  Accompanied by a small group of drawings, “Mountains 1965–2019” was a show of landscape paintings by Wayne Thiebaud, ranging across the titular span, at Acquavella Galleries in Manhattan, in November and December of 2019.

• 

  Suzy Lake

  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.

• 

  Sylvia Matas

  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.

• 

  “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.

• 

  Mona Hatoum

  Mona Hatoum’s context is well known: she grew up in Beirut in a Palestinian family who had fled Haifa in the face of Israeli intimidation. In 1975 she visited London, found she could not return to Lebanon due to the outbreak of civil war and has remained in Britain since.

• 

  Matthew Wong

  Matthew Wong’s superb exhibition “Blue” opened at both KARMA gallery spaces in New York City in November 2019. The gallery showed framed gouaches on paper in the smaller space and oils on canvas in the larger.

• 

  Droning Paradise

  It is possible to imagine a time, maybe not so long ago, when the year 2020 sounded futuristic. There’s something about the repetition of digits that really stakes a claim in the temporal registry.

• Between the glossies and the grotesque

• 

  Playing the Fiddle While the Amazon Burns

  Nothing makes an artist feel as ineffectual as the looming climate catastrophe. Its existential pragmatism makes short shrift of poetics to focus on questions like: Who is financing the art and where does their money come from? How much waste is produced from the invitations, posters and flyers? What is the environmental impact of the all show accoutrement—the temporary walls, the climate-controlled rooms—of which the artwork itself is just the tiniest element?

• 27
• 28
• 29
• 30
• 31

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