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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Identity After the Internet: Three Berlin Exhibitions in Search of Commonality
Does anyone write diaries any more? Does anyone learn about themselves through reflexive engagement with their own written word? Or do we form conceptions…
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Douglas Gordon at the Armory Is All Flash and No Follow-Through
The idea sounds perfectly Gatsby-esque. Build a massive pool inside the 55,000 square foot Wade Thompson Drill Hall of the Park Avenue Armory, fill…
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Tadej Pogačar’s Persistent Perversion of Institutional Critique
Tadej Pogačar is a Slovenian artist who has been making work for over thirty years. For much of that period he has operated under…
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