R.M. Vaughan meets up with Drew Simpson in Berlin to discuss his work and the looming change that will irrevocably alter his painting.
R.M. Vaughan talks with Berlin-based artist Skyler Braeden Fox about his debut film work, a charming and playful piece about trans identity.
Benny Nemerofsky Ramsay takes a puckish stance in his audio guide at POLIN in Warsaw, offering a potent mix of fact and fiction. R.M. Vaughan reviews.
Although he has garnered international success, Montreal-based multimedia artist Mathieu Beauséjour remains virtually unknown in English Canada—for now.
Video works by Marlène Renaud-B., now on view at La Centrale in Montreal, resonate with reflections on power and its abuses, RM Vaughan writes.
Canadian artist Suzy Lake often puts herself in front of her camera—but a new doc by Annette Mangaard sheds fresh light on that oeuvre, R.M. Vaughan writes.
National Gallery of Canada, Ottawa February 14 to May 11, 2014
A feature from the Summer 2012 issue of Canadian Art
In this feature from our fall 2011 issue, critic R.M. Vaughan travels to Malmö, Sweden. There, he finds a gloomy city harbouring some bright talents: Sarah Jane Gorlitz and Wojciech Olejnik, the young Canadian duo known collectively as Soft Turns.
Last summer, on a warm, clear day, a breezy afternoon appropriately close to the magical, dreamy stroke of Midsummer’s Eve, a deceptively simple work of art induced in me a feeling I’d thought my art-weary eyes (soul?— I wish) had lost long ago—wonder.
The stuff (and sometimes nonsense) of classic espionage fictions, ranging from Joseph Conrad’s novels to countless pulp page-turners and comic books, from cinematic masterpieces to B movies—yet all, in the forgotten histories painstakingly resurrected by the Toronto-based multimedia artist Nina Levitt, brutally, heartbreakingly real.
San Francisco is an iconic city, a place of legend, the favoured setting of many a mid-century American murder mystery, and, like all compelling places, a site crammed with contradictions.
The natural world is a source of endless delight—if you don’t have to go outdoors to enjoy it. Having grown up in rural Canada, I harbour no sentimental feelings toward Mother Nature or her alleged charms.
R. M. Vaughan heads to Europe in search of a new context for reading Vancouver's photo-based art Summer 2006
Sinbad in the rented world embraces the excesses of camp and pinpoints a new queer aesthetic in Toronto art Fall 2004