Following her Sobey win, a conversation with Kapwani Kiwanga on audiences, critique strategies and when critics get it wrong
In her new Quebec exhibition, Kapwani Kiwanga asks viewers to return soil from where it was taken—a “gesture of reparation,” the curator calls it. But what is the work really doing?
Spoiler alert: you won’t. But Nadia Gohar’s exhibition “Foundation Deposits” makes an earnest attempt
Aruna D'Souza's forthcoming book Whitewalling: Art, Race & Protest in 3 Acts reviews three incidents in the long and troubled relationship between race and the art world.
Since her Polaris Prize win last year, Lido Pimienta’s music profile has soared. Less known, however, is her making of art textiles, paintings and prints
As a big Yayoi Kusama show opens in Toronto, selfie-shaming is also in the air. But the fact is, selfies are vital to situating people of colour within largely white art institutions
Building museums of found objects and casting packing materials in porcelain, Farooq questions how citizens are told to think about their pasts
After several rounds of preliminary government vetting, Chinese officials pulled the Toronto artist's works at the eleventh hour
This Toronto-based artist’s photo and video works ask what it means to make Black people visually knowable
Friends and colleagues remember a talented artist who died suddenly this fall, just as his work was garnering increasing acclaim.
White supremacists recently made an appearance at Life of a Craphead's Toronto performance.
A new exhibition featuring archival American news photos of Canada illustrates how so many of the country's central myths remain unchanged.
Toronto artist and Guggenheim fellow Deanna Bowen takes us into her studio—sharing family photographs, archival research and a pair of meticulously recreated KKK robes
On the 30th anniversary of Images, Toronto’s first experimental film festival, its director wonders if identity and formalism must be mutually exclusive.
Patrick Cruz studied painting, but it was his time at clown school that encouraged him to embrace intuition in his art.
In a recent Canadian talk, the exiled Iranian artist Shirin Neshat took on Trump, feminism, the art world's shortcomings and more.
Merray Gerges interviews Joële Walinga, director of Cave Small Cave Big, a surrealist short film written and designed by two five-year-old girls.
An open-ended, multi-voiced, online manifesto repositions feminism, technology and the political left.
UK artist and filmmaker Isaac Julien is in Toronto to revive two older works at the ROM—ones that feel uncannily relevant to current politics. Merray Gerges interviews.
This year, art in Toronto has been defined by links—both failed and successful—between online and IRL exhibitions, and between politics and culture.
After the US election, what does contemporary art look like? A contemplation at La Biennale de Montreal, the day of Trump’s victory.
Artist Duane Linklater includes work by his grandmother, Ethel, and son, Tobias, in a Toronto show that spans generations and geographies.
Many museums and galleries have been holding nightclub-style events in an attempt to win new audiences. This transformation is tough, Merray Gerges writes.
How can you ever be yourself in the art world when your self is a neocolonial commodity?
#BlackLivesCDNSyllabus, a crowdsourced anti-oppression project, has some great reads from old art mags. What is its impact in the art world and beyond?
Founded in 2013, Slut Island pushes back against music-festival mainstream. Here, festival co-founder Ethel Eugene shares thoughts on this week's launch.
GothShakira's Instagram shares relatable narratives, lamenting misogynist men, referencing bell hooks and flaunting her astrology expertise.
Is it advisable for a critic of colour to take Black History Month to task—especially when asked to do so by white editors? Merray Gerges reflects.