The National Ballet of Canada's Frame by Frame is spectacular, sensitive, and very queer
Artist Divya Mehra's cover for our Spring 2018 issue uses a vintage kids’ show to poke fun at art-world taboos.
In this modified transcript of a talk given earlier this year, David Balzer considers settler-colonial kitsch and celebration, and how they can be undone.
In a sprawling video projection at the Vancouver Art Gallery, Howie Tsui explores the martial-arts genre that shaped him—and the city in which he was born.
Are the creative industries the world’s most hypocritical polluters?
In a year characterized by division and discord, culture had a choice—to retreat, or to explore startling forms of subjectivity and intimacy.
Our Winter 2017 issue is themed on “Futures.” How is our relationship with futurity changing? The short answer: we are living what's next, now.
This Glace Bay–born artist made an international breakthrough while living in Berlin. Now, his weavings-cum-paintings show at Frieze London and Art Basel.
Many artists leave Canada to develop their practices. Our new Fall issue, out today, is all about them. But what are the politics of leaving—and staying?
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.
Chicago artist and urban planner Theaster Gates reflects on his remarkable new exhibition about the politics of remembering at the Art Gallery of Ontario.
Pride hits Canada's biggest city this weekend. Here, a survey of art projects that are keeping Pride political, in Toronto and elsewhere.
An interview with acclaimed Man Booker Prize–winning novelist and art critic Julian Barnes about the blockbuster show, Internet outrage and more.
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.
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.
Vancouver artist Geoffrey Farmer will represent Canada at the 2017 Venice Biennale. Here, speaks about the upcoming excitement and challenges.
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.
The traditional exhibition review is not popular online—Google Analytics tell us so. What does this mean for the future of art criticism?
Artist Joshua Schwebel explains how he used his residency at the prestigious Quebec Studio in Berlin to pay the interns at Künstlerhaus Bethanien.
Curator Cynthia Burlingham speaks with David Balzer about “The Idea of the North: the Paintings of Lawren Harris,” a show spearheaded by actor Steve Martin.
Famed American artist Eric Fischl reflects on the legacy of his 9/11 works 14 years after the tragedy and discusses the state of contemporary art-making.
David Balzer speaks with BGL about their latest project: a 53-feet-high, million-dollar work that forges a ferris wheel out of aluminum bus replicas.
Maskull Lasserre is the only Canada-based artist currently showing at Dismaland, Banksy's dark Disneyland parody at the British resort town of Weston-super-Mare.
In Public Studio's recent exhibition, the collective toyed with history, making idiosyncratic connections between objects. David Balzer reviews.
This week, Jessica Bradley Gallery announced it would be closing, to the surprise of many. Jessica Bradley speaks about this decision and her future plans.
Artist Paulette Phillips uses a lie-detector machine to study the art world's capacity for truth. David Balzer finds out more in this studio-visit video.
Walter Scott talks to David Balzer about Wendy, the boy-crazy, neurotic protagonist of his popular comics, his approach to satire and his sculptural work.
The Vancouver artist and novelist's new touring survey promises an interactive experience that is deeply contemporary. But how social is the art, really?
Ukrainian-Canadian artist Taras Polataiko speaks about the current cultural climate in Eastern Ukraine, where conflict largely overshadows art-making.
Ahead of his Montreal survey show, Simon Starling talks to David Balzer about revisiting past projects, and avoiding the spotlight.
Canadian artist Gareth Long talks with David Balzer about his Vienna exhibition "Kidnappers Foil," and the strange case of filmmaker/huckster Melton Barker.
David Balzer takes a broad approach to the year-end list, using Los Angeles, theatre and the filmmaker Godard as his points of departure.
Art Basel Miami is a showy display of wealth, David Balzer writes. Local private/public museums also prompt questions about privilege, curating and class.
When Canadian Shaan Syed's art was held at US customs, he held an impromptu performance at a Miami art fair. View more Miami musts in this slideshow.
Metis artist David Garneau becomes Louis Riel, and confronts statues of John A. Macdonald, in a performance debuting this week. More in this interview.
In advance of an Art Toronto panel, Thrush Holmes, Stefan Hancherow and Elena Soboleva share their thoughts on the increasing curation of art fairs.
Art-fair fever hits Toronto this week with the 15th edition of Art Toronto and debut of the Feature Art Fair. Three dealers reveal how to make the most of both worlds.
Biennale de Montréal director Sylvie Fortin has spent the past year managing a much-changed event, and with it, new hopes and challenges.
An AGO retrospective of the late painter compares his work to contemporary films, but love and survival endure as Colville's greatest themes.
Want to know what’s really going on in Canada's art world? Ask artverb*—a team of shippers and installers headed to Frieze New York 2014.
In her exhibition "Walk Like an Etruscan," Bool melds 1980s dance hits and fashions with centuries-old forms.
Birch Libralato, Toronto September 13 to October 13, 2012
A new exhibition of works by turn-of-the-century French painter Edouard Vuillard at New York’s Jewish Museum is at once predictably quiet and unexpectedly thrilling. David Balzer reviews one of Manhattan’s mandatory summer art events.
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.
In 2010, at the age of 35, Toronto artist/DJ/promoter/activist Will Munro succumbed to brain cancer. Here, David Balzer reviews the first big survey of Munro’s work, which makes apparent how talented, prolific and perceptive this creator was.
Toronto sculptor Evan Penny's Jim Revisited—at three metres tall, his biggest work ever—presides over Penny's touring survey "RE FIGURED," which debuted in Germany in 2011 and will wind up at the Art Gallery of Ontario in the fall of 2012. In this David Balzer–penned feature from our Winter 2012 magazine, Penny shares some perspectives on the evolution of his uncannily hyperreal sculptures.
This month, a Lyonel Feininger retrospective organized by New York’s Whitney Museum will open in Montreal. As David Balzer reports, the Canadian spin on this modern master promises to highlight overlooked output in music.
Mythic creatures, Warholian visions and mid-century dreams—for assistant editor David Balzer, the best shows of 2011 had a tendency to play off elements of the past, or place a renewed focus on them. In capable hands, he notes, the results are daring, not dated.
In his final fall report from New York City, David Balzer reviews a show of Francis Picabia’s late paintings at Michael Werner. As Balzer observes, Picabia’s production in the 1940s seemed to predict the kitsch and remix tendencies of postmodern painting today.
The landscape and people of eastern Congo, photographed with infrared film, are the basis for Richard Mosse’s remarkable prints at New York’s Jack Shainman Gallery. In this slideshow, David Balzer mulls the implications, which stretch from Conrad to Hendrix.
Canadian filmmaker Guy Maddin and recent Banff Centre resident Ragnar Kjartansson were among the big highlights of this month’s Performa biennial in New York. David Balzer reviews, finding a performance-art festival that’s as vast as the city hosting it.
Recently, for a few days in New York, exhibitions of Lisa Yuskavage, Neo Rauch and Michaël Borremans coincided. Here, David Balzer discusses their fevered explorations of figure and landscape in contemporary painting.
For David Balzer, the Willem de Kooning exhibition now on at New York’s Museum of Modern Art confirms that his art embodies the spirit of the city just as well as it ever did. In it, graffiti’s echoes meet architectural bravado and large-scale views.
One of the most talked-about shows in New York this season was Thomas Demand’s Magritte-inspired curatorial project at Matthew Marks Gallery. David Balzer reviews, finding Canadian connections and impressive works along the way.
In this slideshow, assistant editor David Balzer reports on “No Comment,” an intriguing group show held near the New York Stock Exchange last week. Though the exhibition grew out of Occupy Wall Street, its visuals verged into Thomas Hirschhorn.
David Balzer reports that a religious mood reigned at MoMA PS1 last week as its 9/11-anniversary show met the closing days of Vancouver artist Jeremy Shaw’s Best Minds. In Minds, Shaw illuminates the unexpected transcendence of a BC punk concert.
The new director of Vancouver’s Contemporary Art Gallery makes an ambitious debut this week with a trio of exhibitions that challenge the institution’s image as it celebrates its 40th birthday. Now, David Balzer asks Nigel Prince about this unusual move.
Old Montreal may be a destination for world-class contemporary art, but it’s also still known for kitschy horse carriages. For David Balzer, that local feature comes to mind when viewing Berlinde De Bruyckere’s DHC/ART show, which includes the equine as medium.
There’s no easy way to explain Daniel Cockburn’s charming first feature, which opens Friday in Toronto, next week in Edmonton and at other Canadian venues this fall. Cockburn's work offers plenty to discuss around art and cinema, as evinced in this interview by David Balzer.
Among the most perennially fresh of the old masters, Caravaggio is the kind of artist whose most mundane works still possess a charge. But can the same be said for all exhibitions about him? David Balzer assesses the National Gallery’s big summer show.
The power of American art star John Currin’s paintings, currently on view in a mid-sized retrospective at Montreal’s DHC/ART, is manifold. Here, David Balzer reviews the exhibition, reflecting on Currin’s relationship to money, muses and married bliss.
Art star commissions often offer big names, but little payoff. The pattern switches up, though, with UK-based artist Aleksandra Mir, who recently organized a playful tire-tower project north of Toronto. Here, David Balzer reviews the resulting Mercer Union show.
In this feature from the Summer 2011 issue of Canadian Art, assistant editor David Balzer thoughtfully analyzes the art of Toronto's Luis Jacob, whose deft work with archives and other themes has gained much national and international attention.
This week, the Canada Pavilion at the Venice Biennale launched its look at the art of Vancouver’s Steven Shearer, who marries old-master awe with a hard, heavy-metal edge. Here, David Balzer chats with the project’s lead curator and posts preview-peek pics.
The Museum of Modern Art’s major new exhibition on German expressionism holds a treat for those piqued by Montreal’s terrific Otto Dix show of last fall. Assistant editor David Balzer reviews, finding many connections to today’s art along the way.
Ancient tales of transformation meet contemporary building materials to dazzling effect in David Altmejd’s current New York show. Assistant editor David Balzer reviews, finding millennia-old fables melded with unexpected, uniquely 2011 twists.
Though AA Bronson was unsuccessful this winter in taking on the Smithsonian, he’s had some high points too. Following a big French honour and General Idea retrospective, this week launches his MoMA film program, which features many younger Canadian artists.
Though best known to many as a painter, the late Jack Chambers also created some important, influential art for the silver screen. As David Balzer reports, a show of Chambers’ overlooked work in both genres, currently on in London, is pure gold.
Echoes of the past—be it tendencies to romantic expression or remakes of unfinished films—run through assistant editor David Balzer’s top picks for the best shows of 2010. And yet, as he notes, these shows are all strikingly contemporary.
Aesthetics meet adventure in “Journeys,” a Montreal exhibition exploring notions of migration by people, objects and concepts. David Balzer reviews, finding an excellent mix of sociology, anthropology, art and storytelling spanning from Liberia to Labrador.
Film history looms large in Toronto artist John Massey’s latest series, After Le Mépris, which draws on Godard’s iconic Contempt. As David Balzer observes, Massey’s interest in modernist cinema matches that of many other Canadian artists.
Celebrated New York artist Eric Fischl has numerous Canadian ties, from his teaching at NSCAD in the 1970s to his current exhibition at Toronto’s Barbara Edwards Contemporary. David Balzer reviews the latter, finding languid, elegant watercolours.
The national art scene lost a titan last week with the passing of dealer and arts advocate Mira Godard. Now artist Christopher Pratt and dealers Miriam Shiell, Paul Kuhn and Yves Trépanier share thoughts on her legacy.
At this year’s Luminato festival, the awarding-winning Canadian duo Janet Cardiff and George Bures Miller were a highlight of the visual arts lineup. Reflecting on their newly commissioned installation, Ship O’ Fools, critic David Balzer finds the work rich in compelling paradoxes.
Most abstract expressionists are landscape painters, and this affiliation is not as restrictive or tricky as many of the former would have us believe. The Toronto artist Andrew Rucklidge embraces both designations.
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.
Who knows what Margaux Williamson's paintings are about? Margaux Williamson, that's who—or at least one gathers she does, if not by conscious design then subliminally, like a forgetful dreamer.