Neil Wedman’s exhibition “Untitled Flying Saucer Monochromes,” curated by Steven Tong, consists of five elegant, pearl-grey monochrome paintings and a smart accompanying essay by Jessie Caryl.
“Is this man the next Warhol?” screamed the headline on the cover of the German art magazine Monopol. It was accompanied by a photograph of the New York–based Chinese-Canadian artist Terence Koh.
Yann Pocreau is interested in architecture’s latent content, narrative potential and dormant histories. He envisions his work as a dialogue with the nature of the spaces he photographs.
In April 2008, Kristan Horton presented his first solo exhibition in New York, at the downtown gallery White Columns.
Many would agree that the evolution of colour-field painting was partly indebted to the invention of acrylic paint.
Wha Happened?”—finally, an exhibition that questioned the very essence of exhibition-making, a double entendre of exposure intentionally produced by artists in an artist-run centre.
A man sits alone in his car at night, eating a hamburger and then casually smoking a cigarette as the camera slowly and gracefully travels around the vehicle.
For magicians and illusionists, mentalism refers to a type of trick that relies on the power of suggestion.
Named after The Carpenters’ 1970 saccharine-sweet song of the same name, “Close to You” provides a survey of projects that translate pop culture icons into personalized and highly intimate craft objects in the domestic sphere.
Remembering is a decidedly melancholy activity in “Mnemonic Devices,” the current exhibition at Oakville Galleries in Gairloch Gardens. Still, the historical and personal content of its individual works makes for a deeply affecting—and memorable—show.