Features
In the Atmosphere
On January 20, 2021, Jill Biden highlighted a Robert S. Duncanson painting at the US inauguration reception. Find out about Duncanson’s years in Montreal and connections with Canadian artists in this story from our Fall 2020 issue, “Chroma”
In the Atmosphere
On January 20, 2021, Jill Biden highlighted a Robert S. Duncanson painting at the US inauguration reception. Find out about Duncanson’s years in Montreal and connections with Canadian artists in this story from our Fall 2020 issue, “Chroma”
Deluxe Transformations
In this feature from the summer 2010 edition of our magazine, artist, writer and educator Trish Boon introduces the work of Toronto's Dorian FitzGerald, an artist who recently made a big splash in the art world with his massive paintings of luxury objects and ornate interiors. The result is a critical trip down the path of decadence and hedonism.
A Wonderful Reserve
In this article from the summer 2010 edition of Canadian Art magazine, Kitchener artist Robert Linsley—who has shown in Berlin, Barcelona and Düsseldorf, with a KWAG survey coming in 2011—looks at the often-overlooked medium of watercolour using the expert work of Paul Cézanne and David Milne as reference points.
Ars Diavoli
I am sitting with the artist Marc Séguin in a bagel shop on the Main in Montreal, Leonard Cohen’s old haunt. I have a few questions prepared for him but all of a sudden I am channelling the priest in the baptism scene from The Godfather.
Eminent Victorian
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.
Extreme Painting
Over the last few years, a new manner of figurative painting—visceral, knowingly banal or aggressively two-fisted, deeply ambivalent about the lightness of the virtual and hostile to the opinion that figurative painting is dead—has emerged in galleries from Toronto and Montreal to New York, Berlin and beyond.
Mobile Perspectives
It’s a bright, frigid, mid-winter morning in Old Montreal, with wind that freezes the eyelashes and numbs the lips gusting up the cobblestone streets, and at this hour the Darling Foundry building for once feels like the magnificent abandoned factory it in fact is.
Done. Not Done. Might Be Done…
In our summer 2010 magazine cover story, contributor Adele Weder unpacks optical energies and conceptual complexities in the abstract imagery of Vancouver painter Elizabeth McIntosh. McIntosh's view of the canvas as "an indefinite expanse" results in notable, boundary-blurring artworks.
David Bolduc: A Remembrance
Last month, many in the Canadian art community were saddened to learn of the passing of respected artist David Bolduc. Here, writer Sheila Mudrick remembers Bolduc’s intelligence, wit and generosity, as well as his deep influence on friends, colleagues and fellow artists.
Ryan Trecartin: Conversation and Critique
A few days before Ryan Trecartin’s show at the Power Plant—his largest exhibition to date—the artist did a talk at the Drake Hotel. Author Sheila Heti reports, wondering if the event could have better reflected Trecartin's famed imagination.