Rochelle Goldberg: From Tar Sands to Mirror Cells

Buckets of crude oil, sprouted chia and even live snails have been used as materials in the art of Brooklyn-based, Vancouver-born Rochelle Goldberg.

by Madeline Coleman

What to See at the Biennale de Montréal

The just-opened Biennale de Montréal dynamically connects Canadian and international practices. Here are eight things we’d like to see there.

Artists Respond to Cleveland Team’s Racist Logo [Updated]

People are not mascots. So why won't sports teams retire offensive logos? Artists resist the misappropriation of Indigenous identity with their own imagery.

by Rosie Prata

Marie-Michelle Deschamps: The Art of the Untranslatable

This Montrealer’s unique brand of abstraction—on view now in Paris—responds to our excess of images by gesturing at the intimacy of private communication.

by Saelan Twerdy

Not an Outsider Artist: An Appreciation of Judith Scott

Luanne Martineau considers the deeply influential work of Judith Scott, and rejects the insider/outsider binary that often pigeonholes Scott’s career.

by Luanne Martineau

Parviz Tanavoli: The Leading Iranian Artist Who Calls Vancouver Home

After 27 years in Canada, a public-art breakthrough: Tanavoli's sculptures are finally installed for all to see. Here, some lessons from a life in art.

by Leah Sandals

Sojourner Truth Parsons: Art Practice as Family

Since moving to LA from Toronto last year, this young artist's profile has skyrocketed. But Parsons hopes that wider success will wait until she reaches old age.

by Fiona Duncan

Daphne Odjig: 1919–2016

Bonnie Devine offers a tribute to Daphne Odjig, a risk-taking artist, a mentor within the Indigenous art community and a devoted activist and organizer.

by Bonnie Devine

Third Space: On Creating a Gallery Without Walls

After a crisis that left it without a space, a Saint John artist-run centre deepened its connection to community—a move that will be lasting.

by Kate Wallace

Offensive Artwork Titles in Canadian Museums: What’s in a Name?

Museums across Canada are grappling with racist, colonialist terminology in their titles—but how are curators correcting this without rewriting history?

by Rosie Prata