Shannon Bool Traces the Women of Algiers
The symbolism of ornament has long founded Shannon Bool’s practice, and that’s lucky. It’s lucky that something so alluring could be both legitimating and…
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Episode 6: An Ethics of Abundance with Jacob Wren and Dayna Danger
For this episode of our Criticism in Conversation series, a writer and collaborative performer, Jacob Wren, speaks with artist Dayna Danger, about the line…
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Painting “From Here”: Susanna Heller at Olga Korper
Whatever specificity of place can be found in Susanna Heller’s paintings at Olga Korper Gallery shimmers with Wallace Stevens’s line, “Description is revelation. It…
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Naming “Where is Here”: Ed Zelenak at Christopher Cutts
One of the pleasures of Ed Zelenak’s decades-long practice is its resistance to easy narrative. And yet, as John Bentley Mays wrote in 2015,…
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The Artist Residency
The artist residency has risen to the top of the artworld’s global economy and increasing professionalization, becoming one of the key features of contemporary…
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Seeking a More Intimate Fair with /edition’s Paul Butler
Toronto’s /edition art-book fair arrives, in its sophomore year, at an energizing time for art publishing. The event drew over 8,000 visitors last year…
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The Abject Intimacies of Chris Curreri
I would like to be like water or rather like milk – completely pourable am right now more like stone but like sand or…
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Where the Bodies Go: Lili Huston-Herterich’s Poem to the Power of Community
The Pulsing Body Wants of Jasmine Reimer
Like teeth crowding a dark mouth, Jasmine Reimer’s Small Obstructions pushes crude objects up through a dusky space – and then pocks them with…
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The Portent in Exhibiting Robert Mapplethorpe: What Can He Mean to Us Now?
The Montreal Museum of Fine Arts can’t send me Robert Mapplethorpe’s most explicit and notorious photographs, despite exhibiting them. It doesn’t have the copyright…
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