How can contemporary art help us get through difficult times? The chief curator of the McMichael Canadian Art Collection looks at artworks that address contagion and fear, grief, isolation and time’s passing—themes at the heart of our experience of this slowest spring
"The assumption that the international art world has a centre is being fast eroded," wrote Sarah Milroy in our summer 2000 issue. In an era of increasing isolationism, Milroy's piece and the issues it raises remain relevant—and unresolved
Former Canadian Art editor Sarah Milroy remembers influential author and critic John Bentley Mays.
Sarah Milroy reports from latest SITE Santa Fe biennial, which was co-curated by Canadian Candice Hopkins and offered a grounded approach to place.
Barbara Edwards Contemporary, Toronto May 2 to June 28, 2014
Power Plant, Toronto February 1 to May 19, 2014
Diaz Contemporary, Toronto October 17 to November 16, 2013
A feature from the Fall 2012 issue of Canadian Art
Art Gallery of Ontario, Toronto July 18 to December 9, 2012
Critic Sarah Milroy’s thoughtful cover story for our Summer 2012 issue focuses on Jeff Wall’s “The Crooked Path” show in Spain, where Wall paired his own works with those of some 60 historical and contemporary artists.
Artist Michel de Broin reconfigures the material world in ways that happily transgress everyday expectations. With his first Toronto commercial show on view, Sarah Milroy mulls over de Broin’s work and its complex, but often comical, effects.
Opening on May 27 at MASS MoCA in North Adams, Massachusetts, “Oh, Canada” will be the largest survey of Canadian contemporary art ever held on American soil. In this interview from our Spring 2012 magazine, critic Sarah Milroy talks about the show's development with MASS MoCA curator Denise Markonish.
Known for addressing 9/11’s landscapes, Susanna Heller has made catastrophe her muse, and—as critic Sarah Milroy observes of her current Toronto show—she’s made peace with it. Heller’s recent works engage her husband’s bout with a flesh-eating disease.
Recently, noted Toronto collector and curator Ydessa Hendeles curated “The Wedding,” her first exhibition in New York. In this review, critic Sarah Milroy describes the show’s marriage of time frames, objects and sensibilities.
The Dulwich Picture Gallery’s recent Group of Seven show was one of the UK museum’s biggest hits ever, drawing 41,000 visitors. The attention was deserved, writes Sarah Milroy, as the exhibition offered new insights even to seasoned Canadian-art observers.
It’s often said that art-making is about making choices—what medium to use, what scale to deploy, what iconography to draw on. Here, Sarah Milroy reviews Micah Lexier’s current Toronto show, detailing the many decisions made along the way.
Varley Art Gallery, Markham
In this cover story from the Summer 2011 issue of Canadian Art, critic Sarah Milroy visits with Vancouver artist Steven Shearer as he prepares to exhibit in the Canada Pavilion at the 54th Venice Biennale.
Artist Brian Jungen, best known for his transformation of contemporary objects into Aboriginal motifs, has seen great success over the past decade. In this feature from our Spring 2011 issue, critic Sarah Milroy talks with the artist of his new work, and his longstanding ties with the reserve at Doig River First Nation north of Fort St. John, B.C.
Edward Burtynsky documents America's greatest ecological disaster in this feature from the fall 2010 print issue of Canadian Art.
One of the problems besetting painting over the past century or so has been this: when does a painting start being a sculpture? Pure opticality (painting’s purview) and somatic engagement (sculpture’s thing) would seem to be at odds, but some artists have a knack for bridging that gap and bringing it all together.