The spiritual iconographies of Paul Petro’s roster are many. Robert Flack’s seven chakras series from the 1990s; Stephen Andrews’s heaven painting, and The Apostles;…
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It’s tempting to consider Kristine Moran’s most recent work as a pivot-point in an ascendency from abstraction to figuration. Figures, indeed, are emerging from…
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In Canadian art’s long and unswift adaptation of an avant-garde, landscape painting yielded to an important reduction, an essentializing that rendered place ancillary, and…
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I woke up this morning to find that Jon McCurley was emitting tiny wails from the “isolation chamber” of Facebook late last night, a…
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“Artists don’t own the meaning of their work.” New York Times critic Roberta Smith issued this controversial and affecting line to a full auditorium…
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At the end of our interview Ryan Gander is suggesting we meet again, “Same time next week?” He’s laughing. I’ve involuntarily submitted myself to…
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When you have as many critics as Dave Hickey, you don’t hope to publish a book quietly so much as attract the right kind…
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Joseph Tisiga is an emerging artist of a particular stripe. He is young (born in 1984), and very successful: he was nominated as a…
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I first sat down with Jessica Bradley in late July, hoping to discuss her recently shuttered gallery. I was, at that time, wanting what…
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Liz Magor claims her “space between the mould and the cast.” It’s a pronouncement reified by thirty years of installation and sculpture that reads tentatively, delicately,…
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