A view from Will Gorlitz’s fall 2008 exhibition at Birch Libralato. Left: Rhodesia 2008 Right: Arboretum Yellow Pine 2008 / photo Richard Rhodes
A view from Will Gorlitz’s fall 2008 exhibition at Birch Libralato. Left: <I>Rhodesia</I> 2008 Right: <I>Arboretum Yellow Pine</I> 2008 / photo Richard Rhodes
In this video, Canadian Art editor Richard Rhodes looks at veteran figurative painter Will Gorlitz’s new works, which range from images of trees askew to zoo animals in fields of snow. Together, Gorlitz’s works make for an ambitious and topical show. (Running time 2 minutes 6 seconds)
Drawing on influences as diverse as Harry Potter, Swamp Thing and the book of Revelation, UK-based Canadian artist Kelly Richardson makes video works well suited to our silly-yet-sedate, jaded-yet-anxious age. Her new works, opening in Toronto this week, are no exception.
In her well-known portrait paintings, Janet Werner seems fascinated with what George Eliot, in Daniel Deronda, calls pettishness: a peevish brattiness often characteristic of pretty, spoiled girls and (in a possible etymological connection) their pets—cats and toy dogs.
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.
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.
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.
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.
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.