Unravelling the threads of meaning in the 13 images that constitute Sue Lloyd’s newest body of digital work, “VOID,” resembles the impossible task of reading for univocal meaning in Virginia Woolf ’s experimental novels.
The 19th century was an extraordinary period of colonization and cultural expansion. The European powers vied with one another to seize land and explorers were dispatched to open and record these new worlds, annexing territories as they went.
The desire to make paintings that reflect the ephemeral character of moving pictures is a time-honoured aspiration.
Potential pain lurks in Dean Drever’s show “Big Guns,” which features works that raise questions about who has the right to inflict violence upon others.
As its title suggests, David Urban’s “Actual Fiction” amounts to a one-man status report on the elusive ideals of reality and truth: an ugly-beauty, eat-the-document affair.
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.