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Interviews

I Need to Know Where I’m Standing

I Need to Know Where I’m Standing

Following her Sobey win, a conversation with Kapwani Kiwanga on audiences, critique strategies and when critics get it wrong

Veronika Pausova Paints a Spidery Sublime

Veronika Pausova Paints a Spidery Sublime

This artist spins webs of imagery by turns cartoonish and trompe l’oeil, ab ex and VFX, rife with loopy insects, nail-bitten fingers and other surreal turns

Our Collective Nervous System

Our Collective Nervous System

A conversation with artist Erin Gee on her new work LaughingWeb Dot Space, which makes space for catharsis on the internet

Rhonda Pelley Divines a Newfoundland Tarot

Rhonda Pelley Divines a Newfoundland Tarot

The artist fell in love with her home province when surveying women affected by the fishing moratorium in the 1990s. Now, she pays homage to local truths, and myths, in a different way

“If Emily Carr Were Born in Seattle, She’d Be World-Famous”

“If Emily Carr Were Born in Seattle, She’d Be World-Famous”

As curator Ian Thom prepares to open his final exhibition at the Vancouver Art Gallery, he discusses what he’s learned about Canadian art—and its problems

Roadside Attractions

Roadside Attractions

A conversation with curator Jennifer Matotek about Saskatchewan’s summer of public art

Soap Stone and 3D-Printing

Soap Stone and 3D-Printing

Jade Nasogaluak Carpenter and Jesse Tungilik participate in self-directed studio residencies in Inuvik and Banff as part of the TD North/South Artist Exchange

A Conversation with Jordan Bennett

A Conversation with Jordan Bennett

This year's Sobey Art Award finalist animates Mi'kmaq creation stories and petroglyphs in his largest public artwork to date

Donkeys in the Don and Other Temporary Acts

Donkeys in the Don and Other Temporary Acts

A conversation with Toronto curator Kari Cwynar about what we want, and need, from civic space—whether it's built or naturalized, domestic or wild

How to Get Over Your Homesickness

How to Get Over Your Homesickness

Spoiler alert: you won’t. But Nadia Gohar’s exhibition “Foundation Deposits” makes an earnest attempt