VSVSVS at Mercer Union: A White-Cube Compromise
The frisky Toronto collective VSVSVS – a collective of emerging artists, most of whom are connected to Guelph University, and many of whom share…
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Interview: Tacita Dean
Twice in the course of a thirty-minute interview with Tacita Dean, her eyes move across the room and narrow-in on the media coordinator, who…
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What Is an Art Critic Doing at an Art Fair?
In May I was part of a panel at NADA. It wasn’t about criticism but someone asked me why I write reviews of art…
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Interview: Rashaad Newsome on Voguing, Heraldry, and FKA Twigs
New York-based Rashaad Newsome has many credits to his name, among them “King of Arms” (he is a master in the centuries-old art of…
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Paul P. on Two Works by Stephen Andrews
There have been many works of art made by artists about September 11th; countless artworks attempting to make sense of, or commemorate, the geopolitical…
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Wayne Baerwaldt on ACAD’s Dissolution of His Director/Curator Position: “It’s an Issue of Public Trust”
A recent scuttling on social-media signaled a disturbance was underfoot at Alberta College of Art + Design (ACAD), where the well-reputed Illingworth Kerr Gallery…
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Ydessa Hendeles: Of Ourselves and of Our Subjects
There is a fine line between being an object and a person. And it’s hard to know when it’s been traversed. The difficulty lies…
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Can Art Museums Afford to Be Free?
Are art museums better off offering free admission? As the art market surges, and museum attendance rises, the question of what kind of ticket…
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Labor Lost: Okwui Enwezor’s Artworld Biennale
Consuming visual art is conspicuously, if oddly, social. You are inherently distracted, aware of watching and being watched, even, perhaps especially, in the darkened…
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A Future Never Sought: Okwui Enwezor’s 56th Venice Biennale
Swimming for his life, a man does not see much of the country through which the river winds. – W. E. Gladstone’s diary, 1868…
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