Toronto the Good, in Two Histories
Sometimes you get the history you want. Sometimes you get the history you deserve. And sometimes you get the history that’s good for you….
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Mark Ruwedel’s Desert History, as Fugitive Present
“I’ll show you fear in a handful of dust.” – T.S. Eliot, The Wasteland …
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Simone Leigh’s Powerful Meditation on Race and Healthcare Suffers, Ironically, from Lack of Access
Within intimate relationships, symptoms of passive aggression range from mild irritation to buckling torpor. When the relationship is between entire populations and corrupted institutions,…
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The Politics of Color in Kristine Moran
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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Understanding Lina Bo Bardi’s Unending Popularity (and Misuse)
Imagine the ghost of Lina Bo Bardi banging the ceiling with a broomstick to annoy whomever’s making a ruckus upstairs. Now imagine it’s not…
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How to Become a Curator
Develop an interest in a particular area of art, history, or science. Be detail-oriented. Volunteer at a museum or similar institution. Get your undergraduate…
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Misogyny and the Myth of the ’90s at Mexico City’s Kurimanzutto
Kurimanzutto is a pristine, vaulted gallery in the San Miguel de Chapultepec neighborhood of Mexico City. As part of the recent exhibition XYLAÑYNU. Taller…
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What Should Art “Do”? The Eccentrics’ Vital Nonsense in a Time of Crisis
What should artists do in a time of crisis? This grave question haunted the avant-garde movements of the early twentieth-century. In the wake of…
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The Sadean Woman: Tricia Middleton and the Violence of Art
Tricia Middleton came late to showing in commercial galleries. In a career spanning fifteen years, her late-2014 exhibition at Jessica Bradley Gallery in Toronto…
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The Slow, Meditative Optimism of Jillian Kay Ross
Jillian Kay Ross doesn’t make conceptual paintings. She doesn’t question the fundamentals of her medium, or speak critically to any historical lineage. She isn’t…
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