Gina Rorai's solo exhibition at Corkin Gallery in Toronto displayed a deeply felt attention to mortality. E.C. Woodley reviews.
It could be argued that the deepest recognition of a major artist isn’t found in a big retrospective, but in later, smaller thematic studies. Critic E.C. Woodley furthers the debate while reviewing a London show of Greg Curnoe’s shaped collages.
In this feature from our Winter 2009 issue, critic E.C. Woodley spends time in Montreal with Fernand Leduc, a central figure in the Automatiste movement. Now in his eighties, the artist continues to work on striking and rigorous monochrome canvases.
On late-winter afternoons, daylight casts a shadowy industrial grid across the white walls and mottled cement floor of Diaz Contemporary’s main space.
When Manet cited Raphael in Le Déjeuner sur l’herbe (1863), he did it by way of an engraving—Marcantonio Raimondi’s reduction of the lost Judgment of Paris—that functioned as a schematic by which Manet brought Raphael back to canvas.
In the wake of two recent survey exhibitions devoted to the medium of projection, the following words by Victor Burgin, used by Ian Carr-Harris in his 1995 projection piece Rozenstraat 8, seem especially apt: “History has moved around my own work, changing at least one of its meanings…Today such work constitutes a distinct genre, and an item in the available repertoire of stylistic conventions.”