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
Yvonne Lammerich: Belief and Other Illusions
Yvonne Lammerich titles her spring exhibition at Diaz Contemporary “Belief,” but as the lettering on the invitation indicates—the title is printed right side up and then upside down—belief is changeable, a result of the complex coming-together of social and political factors at any given time. Belief can be stood on its head.
Heritage Complex: From Stereotypes to Nuance
Suburbia may seem a sea of cookie-cutter homes, donut shops and big-box buildings, but a new exhibition at the Art Gallery of Peel, “Heritage Complex,” drops the stereotypes for a more contemplative kind of analysis.
Alex Livingston in Review: Blurring the Boundaries
A purist might find fault with Alex Livingston describing his newest work as painting—but that doesn’t stop him. Though mediated by digital middlemen, the works look, after all, rather like large abstract paintings, a frenzy of vibrant colours and energetic, loopy lines.
The Quebec Triennial in Review: Provincial Powerhouse
According to Montreal writer Isa Tousignant, the Quebec Triennial serves up a delicious, well-arranged show of world-class art pieces—all from La Belle Province. Don’t believe her? She’s already been five times, and can’t wait for the sixth.
Roula Partheniou: Changing the Rules of the Game
Roula Partheniou finds complexity in unexpected places with “100 Variations,” a rewrite of the Rubik’s cube. The work, which recalls Sol LeWitt at times, challenges viewers to unravel a formally demanding game that is also genuinely playful in spirit.
Martin Bennett
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.
Dil Hildebrand
The Winnipeg-born Montreal artist Dil Hildebrand is already big for his britches.
Exponential Future
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?
Lee Bul
Never before having visited the Fondation Cartier, I had diamond-encrusted visions of the Jean Nouvel–designed building.
James Nizam
There’s a problem with Vancouver photography, and it’s not the fault of the photographers.