Following his international success at the 2012 Documenta, Geoffrey Farmer talks to Amy Luo about his mid-career survey at the Vancouver Art Gallery.
In Rashaad Newsome’s first Canadian exhibition at AGYU, he proves that art can offer valuable insights through its delight in the sensual and spectacular.
Amy Luo visits Krista Buecking’s solo exhibition at Susan Hobbs Gallery in Toronto, and asks whether an awareness of market culture can count as critique.
The current exhibition at the Power Plant reinvestigates the documentary form, parsing tensions between representation, authenticity and political agency.
Kristiina Lahde continues to toy with conceptual and mathematical systems, but her work feels strongest when its precision falters, writes Amy Luo.
Stephen Bulger Gallery’s recent purchase of negatives by Vivian Maier brings the US-Canada border into the ongoing legal saga surrounding the artist.
Melanie Gilligan continues her humorous, unsettling investigations into capitalism and its effects, turning her focus to technology and social ties.
Rui Amaral, program director of Scrap Metal, talks about privately funded, non-commercial art spaces, curating collections and the gallery’s future.
Amy Luo lists her favourite art encounters of 2014, which include insights into local history, and troubling questions about the militarization of police.
Montreal artist uses miniature dioramas to illuminate major topics. When successful, the works bring fresh urgency to old-hat messages, Amy Luo writes.