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Canadian Art

Reviews

  • Reviews31.05.2012

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    Mark Leckey: Animating Objects

    In this review, Kristy Trinier considers Turner Prize-winning artist Mark Leckey's Western Canadian solo-show debut at Banff's Walter Phillips Gallery. As she notes with surprise, Leckey manages to create a kind of multimedia anthropomorphism.
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  • Reviews24.05.2012

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    Deborah Samuel: On Saving the World

    Have you ever wished you’d done something other than make art? Maybe done something that could tangibly help other living beings? Janieta Eyre has felt that way, but the ROM's Deborah Samuel exhibition is reminding her how art itself can be helpful.
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  • Reviews24.05.2012

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    Egan Frantz: Poetic License

    Tomorrow Gallery, a young Toronto space founded by artists Hugh Scott-Douglas, Aleksander Hardashnakov and Tara Downs, recently wrapped a show by New York's Egan Frantz. Mariam Nader reviews, finding irreverent takes on art, craft and literature.
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  • Reviews17.05.2012

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    Jon Rafman: Mapping Google

    Jon Rafman’s work enjoys a deservedly high profile at this year’s Contact Festival. As Saelan Twerdy observes in this review, Rafman’s stunning, and often funny, Google Street View scenes demonstrate how the Internet is making everything public, from information to intimacy.
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  • Reviews17.05.2012

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    Keren Cytter: Video Virtuoso

    “Based on a True Story” in Oakville boasts the largest North American survey to date of Keren Cytter, the Tel Aviv–born artist known as one of today’s most intriguing video practitioners. Mariam Nader reviews, finding greatest hits and unexpected delights.
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  • Reviews17.05.2012

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    Sovereign Acts: Painful Histories, Terrific Performances

    The history of indigenous people performing for colonial audiences inspires "Sovereign Acts,” a current Toronto group show. As Max Mosher writes, the show—featuring Lori Blondeau, Adrian Stimson and others—is both campy and contemplative.
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  • Reviews10.05.2012

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    Public: Big Ambitions

    As one of the primary exhibitions for Contact 2012, “Public: Collective Identity | Occupied Spaces” is ambitious. Charlene K. Lau observes that the two-venue show mirrors the fractures of contemporary life: public and private, visible and invisible, place and non-place.
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  • Reviews10.05.2012

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    Abbas Akhavan: Up, Down and In-Between

    In this review, writer and artist Joni Murphy considers Abbas Akhavan’s current solo show in Montreal, which activates a variety of themes—war and art, destruction and nation building, human and animal—with a distinctively light touch.
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  • Reviews10.05.2012

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    Luke Painter: The Ornamentalist

    Melding William Morris-style ornamentation with more contemporary concerns, artist Luke Painter detours around dry academicism for something more vibrant and visceral. Mariam Nader reviews his current Toronto show at LE Gallery, finding depth in decoration.
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  • ReviewsReview

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    Angela Grossmann: Flesh for Fantasy

    For journalist Danielle Egan, Angela Grossmann’s collages conjure Mary Shelley’s Frankenstein. Here, Egan describes Grossmann’s current Vancouver show and examines how her figures highlight the wondrous in contemporary womanhood.
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  • Reviews03.05.2012

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    Judging Books by their Covers: Reading Surfaces

    Is it possible to track the demise of a medium based on its increasing prevalence in art galleries? If so, the physical book is well on its way, as indicated by several recent exhibitions. In this review, David Balzer studies one such show on now in Montreal.
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  • Reviews26.04.2012

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    Kesu': Doug Cranmer, Reluctant Master

    A hereditary chief and renowned Kwakwaka'wakw carver, the late Doug Cranmer was a master artist who preferred to refer to himself as a “doodler” and “whittler.” Here, Susan Walker reviews his Vancouver survey, "Kesu'," which means “wealth being carved.”
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  • Reviews19.04.2012

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    Tessar Sebastian Lo & Mark DeLong: Twice Removed

    Currently on at Cooper Cole Gallery in Toronto is an exhibition that juxtaposes two young Canadian artists of distinctly different practices—one more emotional and illustrative, the other more conceptual and abstract. Mariam Nader reviews.
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  • Reviews12.04.2012

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    Laura Kikauka: Garage-Sale Gold

    From Air Supply and Justin Bieber to soap operas and trashy mags, guilty pleasures often remain locked away in the hidden closets of the soul. Thankfully, writes Jason Schiedel, kitsch-embracing artist Laura Kikauka has purged her practice of shame.
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  • Reviews12.04.2012

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    Found in Translation: Missing Links

    The typical take on translation favours something more lost than found. But as Tess Edmonson reports, the Deutsche Guggenheim’s recent show on translation showed it to be productive and positive for culture and language.
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  • Janet Cardiff and George Bures Miller: Black Birds

    New York critic Joseph R. Wolin heads to the Park Avenue Armory where Janet Cardiff and George Bures Miller are creating a buzz (and other sounds) at the US premiere of a dark, nightmarish installation originally created for the 2008 Biennale of Sydney.

  • Grange Prize 2012: Hot Shots

    One of Canada’s largest cash-value art prizes—$65,000 in total with $50,000 going to the winner, $5,000 to three runners-up—announced its finalists this week. Take in their wide-ranging works in this slideshow.

  • Wanda Koop: Into the Woods

    A visit to Wanda Koop’s cabin near Riding Mountain National Park in southern Manitoba proves intriguing for Vancouver critic Robin Laurence. There, Laurence writes, Koop bridges old Grey Owl myths with a new series of paintings on our increasingly digital culture.

  • Brad Tinmouth: Survival Strategies

    The basement of an art gallery may seem an unlikely place to create an emergency shelter. However, Xpace's lower gallery is an ideal setting for Brad Tinmouth's “If Times Get Tough or Even If They Don't,” which evokes a cold-war bunker.

  • Wim Delvoye: Blame it on Paris

    Silk-covered pigs, lattice-cut car tires and a tattooed man are just a few of the works that Belgian artist Wim Delvoye has shuttled into the old, Gothic wing of the Louvre this summer. Jill Glessing reviews, finding a terrific amalgam of high and low.

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Page Not Found - Canadian Art
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SPECIAL ISSUE: 30 YEARS
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Page Not Found - Canadian Art
CURRENT ISSUE | FALL 2014
SPECIAL ISSUE: 30 YEARS
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