Reviews
On Charles Campbell and the Underrepresentation of Caribbean Art in Canada
The Jamaica-born, Victoria-based artist has shown at the Brooklyn Museum and Pérez Art Museum Miami—but only recently had his first Vancouver solo show
On Charles Campbell and the Underrepresentation of Caribbean Art in Canada
The Jamaica-born, Victoria-based artist has shown at the Brooklyn Museum and Pérez Art Museum Miami—but only recently had his first Vancouver solo show
Charles Stankievech
The title of Charles Stankievech’s sparse solo exhibition “Horror Vacui” refers to the fear of empty spaces associated with Outsider art and psychedelic imagery.
Constellations
In “Constellations,” Sara Angelucci has curated a thoughtful exhibition of work by two artists who use found materials and the medium of light to seek reconciliation with the complex legacies of the Second World War.
Adrian Fish
A theatre is a familiar space. Its basic structure of proscenium stage plus auditorium dates back to ancient Greece and was adopted throughout the world without many radical changes.
Martin Bennett
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.
Dil Hildebrand
The Winnipeg-born Montreal artist Dil Hildebrand is already big for his britches.
Exponential Future
Exponential Future,” an exhibit of eight young Vancouver artists co-curated by Juan Gaitán and Scott Watson, provokes a very simple question: what kind of future is this?
Lee Bul
Never before having visited the Fondation Cartier, I had diamond-encrusted visions of the Jean Nouvel–designed building.
CONTACT Wrap-up: Rebounding, and Taking it to the Streets
As Toronto's CONTACT Photography Festival wraps up, Canadian Art Weekly takes a step back to examine the fest’s overall highlights.
Balint Zsako in Review: Mythic… and a Little Bit Dirty
Balint Zsako’s practice is often described as quirky, disturbing, otherworldly and a little bit dirty. But despite all of the swollen sex organs and pendulous breasts on view, his work doesn’t feel pornographic; rather, it feels mythic.
Simon Starling in Review: 21st-century Colonialism
The centerpiece of Simon Starling’s new exhibition at The Power Plant, Infestation Piece (Musselled Moore), demands some explanation to be fully understood.