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
Simon Starling
Simon Starling’s exhibition “Cuttings (Supplement),” at The Power Plant, is part of an ongoing dialogue between artist and gallery that draws on several years of mutual support. (The Power Plant helped realize his 2005 show “Cuttings” at the Museum für Gegenwartskunst in Basel.)
Francine Savard
On late-winter afternoons, daylight casts a shadowy industrial grid across the white walls and mottled cement floor of Diaz Contemporary’s main space.
Neil Wedman
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.
Yann Pocreau
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.
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.