
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…
Read MoreThe 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…
Read MoreFor this episode of our Criticism in Conversation series, a writer and collaborative performer, Jacob Wren, speaks with artist Dayna Danger, about the line…
Read MoreWhatever 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…
Read MoreOne 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,…
Read MoreThe artist residency has risen to the top of the artworld’s global economy and increasing professionalization, becoming one of the key features of contemporary…
Read MoreToronto’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…
Read MoreI would like to be like water or rather like milk – completely pourable am right now more like stone but like sand or…
Read MoreLike teeth crowding a dark mouth, Jasmine Reimer’s Small Obstructions pushes crude objects up through a dusky space – and then pocks them with…
Read MoreThe 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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