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
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.
Patrick Thibert
Each new exhibition by Patrick Thibert elicits another attempt to locate the work of this London, Ontario, sculptor in one or another of the categories of Western art.
Lyne Lapointe
Lyne Lapointe’s exhibition“La Perle”transformed the upper mezzanine of the Carleton University Art Gallery into a refined version of a 17th-century cabinet of curiosities.
CONTACT Wrap-up: Rebounding, and Taking it to the Streets
As Toronto's CONTACT Photography Festival wraps up, Canadian Art Weekly takes a step back to examine the fest’s overall highlights.
Balint Zsako in Review: Mythic… and a Little Bit Dirty
Balint Zsako’s practice is often described as quirky, disturbing, otherworldly and a little bit dirty. But despite all of the swollen sex organs and pendulous breasts on view, his work doesn’t feel pornographic; rather, it feels mythic.
Simon Starling in Review: 21st-century Colonialism
The centerpiece of Simon Starling’s new exhibition at The Power Plant, Infestation Piece (Musselled Moore), demands some explanation to be fully understood.