Grafting the Baroque: The Scaled-Up Frames of David Armstrong Six
“Everything is composed of small particles of itself and they are flying around in concentric circles and arcs and segments and innumerable other geometrical…
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Looking Out from Looking In: Geneviève Cadieux Shifts From the Polemic to the Poetic
Milling through the Vancouver Art Gallery earlier this spring, I stopped before a towering diptych that paired a cartoon prince and a back-turned nude….
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The Seductive Branding of Phoebe Greenberg
Phoebe Greenberg occupies a unique position in Montreal’s art community, as well as in Canada – and she’s made sure of it. The former…
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Bad Faith in MOCA Toronto’s Inaugural Show, “Believe”
I’ve spent the better part of five months trying to write a review of a show that’s now closed: MOCA Toronto’s inaugural exhibition, Believe….
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Shannon Bool Traces the Women of Algiers
The symbolism of ornament has long founded Shannon Bool’s practice, and that’s lucky. It’s lucky that something so alluring could be both legitimating and…
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“In the Round of Her Need”: An Interview with Ambera Wellmann
I first observed the uncanny paintings of Ambera Wellmann in an intimate solo show at Toronto’s now-defunct Richard Rhodes Dupont Projects. A natural light…
Read MoreArt Criticism vs. Journalism with Catherine G. Wagley and Julia Halperin – Ep. 03
In the first episode of Momus’s new “Criticism in Conversation” podcast series, an art critic and an art journalist parse the differing responsibilities and…
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An Open Door, By the Lake: Nadia Belerique Advances Her Symbolism
A gift embedded in the trip to leafy, tony Oakville Galleries (a half-hour train ride from Toronto) is the moment you give yourself by…
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Painting “From Here”: Susanna Heller at Olga Korper
Whatever specificity of place can be found in Susana Heller’s paintings at Olga Korper Gallery shimmers with Wallace Stevens’s line, “Description is revelation. It…
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Naming “Where is Here”: Ed Zelenak at Christopher Cutts
One of the pleasures of Ed Zelenak’s decades-long practice is its resistance to easy narrative. And yet, as John Bentley Mays wrote in 2015,…
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