Reviews
On Charles Campbell and the Underrepresentation of Caribbean Art in Canada
The Jamaica-born, Victoria-based artist has shown at the Brooklyn Museum and Pérez Art Museum Miami—but only recently had his first Vancouver solo show
On Charles Campbell and the Underrepresentation of Caribbean Art in Canada
The Jamaica-born, Victoria-based artist has shown at the Brooklyn Museum and Pérez Art Museum Miami—but only recently had his first Vancouver solo show
Andrew Rucklidge
Most abstract expressionists are landscape painters, and this affiliation is not as restrictive or tricky as many of the former would have us believe. The Toronto artist Andrew Rucklidge embraces both designations.
Marie Lannoo
Goethe believed that colour is a meeting of darkness and light, a joining of opposites that together form our visual and emotional experience of colour. The mysteries of colour and light became henceforth the obsession of 19th-century artists and an inspiration for almost every modern movement in painting.
Diane Morin/Nelly-Eve Rajotte
The exhibition “Effleurements,” curated by Nicole Gingras, featured multimedia works by the Montreal artists Diane Morin and Nelly-Eve Rajotte, who both employ light, movement and sound in their art.
Evan Lee
In his exhibition “Drawn from Memory,” Evan Lee, in a departure from his forays into photographic experiments and still life, takes up subject matter drawn from the everyday. Whereas his previous work often played with double meanings in a somewhat surreal, paranoid-critical way, here Lee favours a direct representation of his subjects.
Close to You: Crafty Pop Culture
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.
Mnemonic Devices: The Persistence of Memory
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.
Kim Ondaatje: Factory and Fiction
Though created over 30 years ago, the works in “Kim Ondaatje: Paintings 1950–1975” still speak to current concerns. Moreover, shimmering alternately with the heat of summer and the chilling winter wind, they’re poignant documents of the Canadian landscape.
Yves Saint Laurent: An Art Made for the Body
Though it’s taken on an elegiac quality since Yves Saint Laurent’s unexpected passing, the YSL retrospective in Montreal feels enjoyable and emotional. After all, clothing is art made for the body, and this show surveys 40 years of the best.
Rebecca Belmore: Rising to the Occasion
In this review of Belmore's mid-career retrospective at the Vancouver Art Gallery from summer 2008, Gabrielle Moser highlights enduring themes in the Anishinaabe artist’s work
Not Quite How I Remember It: Rapid Memory Gloss
The need to examine the past—personal and otherwise—to make sense of the present is a strong, if not innate, human quality. This tendency gets a fair, though sometimes uneven, treatment in the Power Plant’s summer exhibition.