What On Kawara’s Analog Wisdom at the Guggenheim Has to Offer a Digital World
In 2009, @on_kawara flickered onto the scene. The Twitter account, whose profile picture is a black square, simply tweeted out once a day, “I…
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Ryan McNamara and the Afterlife of Performance
How does performance art survive? What artifacts, narratives, or documents testify to performance’s occurrence? For the genre’s venerable practitioners from its historic moment of…
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When Does Performing Failure Make Its Own Failure?
How can an artist enact failure without presenting a failed act? How does an artist present an ethos of collapse without making work that…
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The Many Violences of Adel Abdessemed
At first glance, Adel Abdessemed’s charcoal drawings of soldiers do not seem to be up to much. They are large, certainly: two meters in…
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Loris Gréaud Smashes the Mold for Museum Shows
It’s Saturday night in Dallas, at the debut of “The Unplayed Notes Museum,” by the French art star Loris Gréaud. The cavernous, spookily lit space…
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Villa Toronto’s Failure and Provocation: How Do We Invite the Outside In?
In order to enter the Union Station’s Great Hall – a stunning keystone of Toronto’s historic architecture, with soaring coffered ceilings and heritage marble…
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Can Abstract Art Still Be Radical?
Is abstract art, especially the geometric kind, radical anymore? This is the big question that vibrates through the Whitechapel Gallery’s rich and jam-packed history…
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Neïl Beloufa Relies on Other People
French-Algerian artist Neïl Beloufa recently debuted Counting on People (November 8, 2014 – March 1, 2015) at The Banff Centre’s Walter Phillips Gallery, a…
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Querying the New Appropriation Art: Is This Cynicism?
The Denny Gallery may have given themselves a curatorial headache with the title of their current exhibition, Share This! Appropriation After Cynicism. There are…
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Playing the Double Agent: Kathleen Ritter’s “Camoufleurs”
Kathleen Ritter is an artist. This may come as a surprise to some who knew her better as associate curator at the Vancouver Art…
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