Essays
On the Life and Death (and Life) of Dancemakers
In November, the board of directors at Dancemakers said it would close, after a 46-year run. Then in February, a new board took the reins, with a new, in-process vision
On the Life and Death (and Life) of Dancemakers
In November, the board of directors at Dancemakers said it would close, after a 46-year run. Then in February, a new board took the reins, with a new, in-process vision
On Charting My Indigenous Art Horoscope
Using Arthur Koestler’s idea of casting a “secular horoscope,” critic Richard Hill looks at Indigenous art from his birth year—and makes a few predictions.
Is a New Show about Picasso’s Muses Sexist?
“Picasso: The Artist and His Muses” is the most significant exhibition of Picasso’s work ever presented in Vancouver, but is the framing inescapably sexist?
Is There an Indigenous Way to Write about Indigenous Art?
Some say non-Indigenous ideas shouldn't be used in writings about Indigenous art. But Richard Hill says we need all available tools—and courage to use them.
What’s the Value of First-Person Criticism?
Caoimhe Morgan-Feir and Leah Sandals debate the merits and limits of first-person criticism in art.
10 Indigenous Artworks that Changed How We Imagine Ourselves
Richard William Hill continues his explorations of 1980s and 1990s Indigenous art to outline 10 works that changed how we "imagine our place in the world."
Prince: An Artist and Fan Pays Tribute
"I appreciated his weirdness, the willful disregard of genres as discrete realms of practice, the androgyny." Artist Raymond Boisjoly remembers Prince.
Was Indigenous Art Better in the 1980s and Early ’90s?
Toeing the party line is often a safer choice—and safe choices lead to bad art. Richard William Hill wonders if artists were braver 30 years ago.
What’s Your Flavour? On Being a Critic of Colour in February
Is it advisable for a critic of colour to take Black History Month to task—especially when asked to do so by white editors? Merray Gerges reflects.
Ken Lum on Canada vs. the USA
Artist Ken Lum, who now lives in Philadelphia, reflects on the differences between the Canadian and American art identities and art markets.
TL;DR: No One Reads Art Reviews Anymore
The traditional exhibition review is not popular online—Google Analytics tell us so. What does this mean for the future of art criticism?