CURRENT ISSUE | SUMMER 2016
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Articles by David Balzer

There are 140 articles by David Balzer

Features
David Balzer’s Top Pick at Canadian Art’s Gala Auction

Shannon Bool’s multiple, fraught ideas of beauty make her artwork Iman’s a top pick for editor-in-chief David Balzer at Canadian Art’s upcoming auction.

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Features
Theaster Gates Builds a House Museum

Chicago artist and urban planner Theaster Gates reflects on his remarkable new exhibition about the politics of remembering at the Art Gallery of Ontario.

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Features
Resist Pinkwashing: A Pride Guide

Pride hits Canada’s biggest city this weekend. Here, a survey of art projects that are keeping Pride political, in Toronto and elsewhere.

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Features
Julian Barnes: There’s No Right Response to a Painting

An interview with acclaimed Man Booker Prize–winning novelist and art critic Julian Barnes about the blockbuster show, Internet outrage and more.

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Reviews
MashUp: A Bright Show with a Dark Heart

David Balzer reviews the Vancouver Art Gallery’s “MashUp,” making a case for the value of slow criticism in a culture that’s often all too quick to pick sides.

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Features
Tour Song Dong’s Labyrinth of 100 Vintage Chinese Doors

Chinese artist Song Dong tours his current work at the AGO: an installation of 100 vintage wardrobe doors that recalls communal living spaces in Beijing.

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Reviews
David Balzer’s Best of 2015: Full Nelson

Maggie Nelson’s The Argonauts is the book of the year—a touchstone for 2015’s cultural shifts, and an unconventional celebration of art criticism.

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News
Geoffrey Farmer Will Represent Canada at Venice Biennale in 2017

Vancouver artist Geoffrey Farmer will represent Canada at the 2017 Venice Biennale. Here, speaks about the upcoming excitement and challenges.

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Features
A First Look at 2015 Miami Art Week

Deputy editor David Balzer’s first report from Miami Art Week is in. Take a look at this slideshow of his highlights from Art Basel’s booths and curated sections.

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Features
TL;DR: No One Reads Art Reviews Anymore

The traditional exhibition review is not popular online—Google Analytics tell us so. What does this mean for the future of art criticism?

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