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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…

Christina Sharpe’s Perpetual Present

Free from an autobiographical or narrative format that would encourage an epic spun out from a punctum, Christina Sharpe’s newest book, Ordinary Notes, casts…

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…

How To Be an Unprofessional Artist

No one likes being called an amateur, a dilettante, a dabbler. “Unprofessional” is an easy insult. The professional always makes the right moves, knows…

Seeking Specificity in Postcommodity

To be given the opportunity to travel for the sake of art, even if it’s from one small dusty Prairie city to another, is…

The Eerie Optimization of “Self-Care” Decor

Amid the panicked anticipation of an “automation revolution” in the workforce, some of the safest labor sectors remain those dominated by women workers. Perhaps…

Confronting Gender Imbalance at the Rencontres d’Arles

The Rencontres d’Arles is arguably the most important photography event of the year. From tiny galleries to medieval churches to a Roman amphitheater, the…

DIS Collective’s Apathetic and Ironic Berlin Biennial Underestimates its Audience

This year’s Berlin Biennale title, The Present in Drag, spells out clearly what we can expect. The aim of the show is to reflect…

You Are Still Here: The Present Tense and Present Threat of Mona Hatoum

Mona Hatoum’s Grater Divide (2002) is a cheese-grater nearly seven feet high. On the one hand, it’s laugh-out-loud funny. On the other, it’s lethal. It…

“You Can’t Win It”: Jon McCurley on the Art of Facebook

I woke up this morning to find that Jon McCurley was emitting tiny wails from the “isolation chamber” of Facebook late last night, a…