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Reviews

Libby Hague: A Step into Darkness

Libby Hague: A Step into Darkness

Libby Hague’s latest sculptural installation of prints and video has great charm and ingenuity. But as John Armstrong observes, the delight produced by Hague’s techniques cannot overcome the haunting darkness of the landscapes she portrays.

It Happened in your Neighbourhood

It Happened in your Neighbourhood

A playful Daniel Buren installation that riffed on the building’s exterior by overlaying colourful geometric patterns onto an attention-grabbing skylight was an indication of the contemporary spirit that swept over the Musée national des beaux-arts du Québec with “It Happened in your Neighbourhood: Contemporary Art in Quebec City,” a major exhibition that brought together nearly 50 artists who have connections with the city.

Here Now or Nowhere

Here Now or Nowhere

Curated by the Toronto artist Micah Lexier, “Here Now or Nowhere” took over Grande Prairie, Alberta—a natural resource–based town, population 50,000—during the dark days of winter.

Nick Ostoff

Nick Ostoff

Nick Ostoff ’s exhibition at Diaz Contemporary suggests an index, a compendium of possibilities.

Lynne Marsh

Lynne Marsh

The interactions of both the camera and the viewer with architectural space are at the heart of Lynne Marsh’s video work.

Jenny Holzer

Jenny Holzer

Jenny Holzer began her career anonymously pasting offset posters on building walls, garbage-can covers, postal boxes and hoardings around New York City.

Elizabeth Peyton

Elizabeth Peyton

When she emerged into the limelight in the mid-1990s, Elizabeth Peyton stood at the forefront, alongside artists such as John Currin, of a wave of artists returning to virtuosic figurative painting.

James Carl

James Carl

Sometimes an exhibition is so surprising, challenging and ambitious that it inspires wonder and open-ended reflection followed by a most mundane question: “How did he do it?”

Daniel Olson

Daniel Olson

The hush reigning over the Expression gallery space during Daniel Olson’s recent exhibition was of a specific nature: less silent contemplation and more, it seemed, a kind of anticipatory held breath.

Trade Secrets

Trade Secrets

Whither the “public” in “public art gallery”? Where’s the exhibitionism in exhibition-making? If the broadly understood purpose of art can be summarized by that old E. M. Forster chestnut “only connect,” why then does there seem, at times, to be so much disconnect between art and its audiences?