Stanley Kubrick wasn’t much for dialogue. He let the camera tell the story, often leaving his viewers wading through a narrative in a bath of visually expressed ideas.
You might feel like you’ve stumbled into a highend furniture store upon entering Yannick Pouliot’s exhibition.
The title of Charles Stankievech’s sparse solo exhibition “Horror Vacui” refers to the fear of empty spaces associated with Outsider art and psychedelic imagery.
In “Constellations,” Sara Angelucci has curated a thoughtful exhibition of work by two artists who use found materials and the medium of light to seek reconciliation with the complex legacies of the Second World War.
A theatre is a familiar space. Its basic structure of proscenium stage plus auditorium dates back to ancient Greece and was adopted throughout the world without many radical changes.
When Manet cited Raphael in Le Déjeuner sur l’herbe (1863), he did it by way of an engraving—Marcantonio Raimondi’s reduction of the lost Judgment of Paris—that functioned as a schematic by which Manet brought Raphael back to canvas.
The Winnipeg-born Montreal artist Dil Hildebrand is already big for his britches.
Exponential Future,” an exhibit of eight young Vancouver artists co-curated by Juan Gaitán and Scott Watson, provokes a very simple question: what kind of future is this?
Never before having visited the Fondation Cartier, I had diamond-encrusted visions of the Jean Nouvel–designed building.
There’s a problem with Vancouver photography, and it’s not the fault of the photographers.