Roy Arden has gained international recognition for his creation of a particularly trenchant brand of photo imagery.
Nine pictures by Derek Sullivan hang on the wall.
For nearly two decades, the Swiss artist Thomas Hirschhorn has been filling art spaces and annexing pedestrian sites with what he likes to call “displays.”
The history of the settlement of the United States and Canada is psychologically invested with colonial ambitions—to penetrate a fertile wilderness that lies beyond settled borders.
As with many younger artists these days, Jason de Haan’s practice takes a multiplicity of forms, including sculpture, drawing, photography, performance and bookworks. Rather than adhering to a single style or direction, the Calgary-based artist has developed what seems to be a reverent, though free-flowing, relationship with the discourses of art history and pop culture.
At the Tree Museum’s outdoor exhibition of works by Toronto collective Persona Volare, one has to hike into the woods in search of artworks, some glaring, some hidden as in a treasure hunt.
San Francisco is an iconic city, a place of legend, the favoured setting of many a mid-century American murder mystery, and, like all compelling places, a site crammed with contradictions.
“Hegel’s Salt Man” may or may not be a skeletal little man who resembles a salt shaker with pointy arms and legs.
Paul P.’s recent work lulls viewers into pleasantly melancholic reveries. P. is part of a cadre of young Canadian artists (which also includes Scott Treleaven and Luis Jacob) who are currently breaking onto the international art scene, and whose art practices seem directly informed by their sexual orientation.
For his second exhibition at Diaz Contemporary, the Mexico City–based artist Francisco Castro once again offered paintings based on the grid, which for a century has been a primary means of modernist visual organization.