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
The Wedding: Ydessa Hendeles’ New York Vow
Recently, noted Toronto collector and curator Ydessa Hendeles curated “The Wedding,” her first exhibition in New York. In this review, critic Sarah Milroy describes the show’s marriage of time frames, objects and sensibilities.
28 Days: Black History Month, Reimagined
February is Black History Month in Canada, a tradition that gets a compelling curatorial treatment in “28 Days,” a two-venue Toronto show. Bryne McLaughlin reviews the exhibition, which features Wangechi Mutu, Dionne Simpson and 16 other artists.
Carole Condé and Karl Beveridge: Of Labour and Love
For more than three decades, Carole Condé and Karl Beveridge’s practice has been a model for activist art. Best known for their collaborative work with trade unions, they’re the focus of a new exhibition in Toronto. Sarah E.K. Smith reviews.
Shary Boyle: National Treasure, Too
Toronto artist Shary Boyle is known for taking on ambitious projects. One of her latest endeavours attempts a “preposterous, yet semi-logical, system of ancestry” for a generic Canadian artist. Here, Leah Sandals reports on the new work’s satire and seriousness.
David Altmejd: In the Belly of the Beast
The Occupy movement has galvanized the way we think about haves and have-nots. But where do artists fit in? As Joseph R. Wolin observes in this review of David Altmejd’s show at the Brant Foundation, context can be as powerful as content in determining the split.
Painting Canada: Artistry in the UK
The Dulwich Picture Gallery’s recent Group of Seven show was one of the UK museum’s biggest hits ever, drawing 41,000 visitors. The attention was deserved, writes Sarah Milroy, as the exhibition offered new insights even to seasoned Canadian-art observers.
Will Munro: Ecstatic Legacies
In 2010, at the age of 35, Toronto artist/DJ/promoter/activist Will Munro succumbed to brain cancer. Here, David Balzer reviews the first big survey of Munro’s work, which makes apparent how talented, prolific and perceptive this creator was.
Laurie Anderson: Down the Rabbit Hole
As a child, Laurie Anderson broke her back while showing off on a diving board. Now, she draws on that experience in The Gray Rabbit, a work having its North American premiere at Calgary’s Glenbow Museum. Nancy Tousley reports on the project, and its inspirations, in this feature interview.
John Currin
John Currin made his name by challenging core beliefs of postwar avant-garde American art—among them, the belief that the art of the past had nothing to teach the present; that commerce was evil; and that the male artist should avert his prurient gaze from naked women. In this article from our Winter 2012 issue, Gillian MacKay reviews his fascinating 2011 survey at DHC/ART in Montreal.
Derek Sullivan
Derek Sullivan’s exhibition “Albatross Omnibus”—the Power Plant’s 2011 commission—was inspired by the history of the artist’s book, an art form that arose in the 1960s and 70s in conjunction with conceptual art. In this article from the Winter 2012 issue of Canadian Art, Bill Clarke reviews the show, which suggests both the liberations of intellect and the burdens of physicality.