Emily Carr is linked to the work of a young European Surrealist in a thoughtfully conceived and elegantly executed exhibition at the Vancouver Art Gallery.
How longing for a distant homeland drove Michael Audain to become one of BC's biggest art collectors and patrons—and now, museum builder.
Though Emily Carr is known for depicting the West Coast, her recent show at the Dulwich Picture Gallery reveals her universal appeal, writes Robin Laurence.
At the Vancouver Art Gallery, Emily Carr's works gain renewed relevancy thanks to a careful, nuanced pairing with contemporary painter Landon Mackenzie.
Bridging imagery from the Garden of Eden to Robert Smithson's Glue Pour, Dikeakos's Nature Morte frames the apple as symbol and stock. By Robin Laurence.
Emily Carr has been in the international spotlight this month with her paintings at dOCUMENTA (13). But there’s also a small, engaging show about her spiritual inspirations and contemporary influences now on in Vancouver. Robin Laurence reviews.
After working in construction for 15 years, Reece Terris went to art school. Now, his works—from time-travelling apartments to guerilla bridges—marry trade tricks with inimitable insights. Find out more in this current-issue feature by Robin Laurence.
From traditional wildlife to shiny Ski-Doos, Kananginak Pootoogook documented contemporary Inuit life from the 1950s right up till his death in 2010. Now, a keenly observed memorial exhibition is on in Vancouver. Robin Laurence reviews.
This month, Vancouver artists Holly Schmidt and Sharon Kallis have put some of their innovative urban-agriculture projects to bed for the winter. As contributing editor Robin Laurence reports, both have sown new seeds for community and creativity in the city.
Culture constructing ideas of nature is a common theme in contemporary art, but a new show in Kamloops, curated by Patrik Andersson, is taking it to the next level. Vancouver critic Robin Laurence reviews, finding a captivating mix of artists young and old.
Art, artist and art school intertwine in the recent work of Landon Mackenzie, an energetic painter and influential instructor at Emily Carr. In this feature from our winter issue, critic Robin Laurence explores the webs of connections in Mackenzie’s practice.
Outwardly, the group show “Monster” abounds with man-eating demons, hair-pulling ghosts, wart-covered witches and black-tongued sea creatures. But as Robin Laurence observes, the exhibition offers some inner psychological ogres to meditate on as well.
Few artists have as hands-on a relationship with the built environment as Vancouver’s Reece Terris, who has supported his interdisciplinary studies and practice by working as a builder and general contractor.
The Anthony Hernandez show at the Vancouver Art Gallery has been unexpected in a number of ways.
Whether it’s topiary, taxidermy or shipbuilding, Jim Breukelman shines a warm, humane light on his photographic subjects.
The extravagantly crowded surreal scenarios of the up-and-coming painter Etienne Zack
What do Emily Carr's life and art mean to us here and now?