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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“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…
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“It‘s Like Deciding to Cut Off a Leg and Keep Walking”: Jessica Bradley On Her Controversial Closure
I first sat down with Jessica Bradley in late July, hoping to discuss her recently shuttered gallery. I was, at that time, wanting what…
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These Are Not Ideas; These Are Things: A Conversation with Liz Magor
Liz Magor claims her “space between the mould and the cast.” It’s a pronouncement reified by thirty years of installation and sculpture that reads…
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What Gets Revealed When Iris Häussler Finally Owns Her Name
It’s not easy to write about Iris Häussler. I’ve been avoiding it, though desiring it, since her daring He Named Her Amber (2008) subsumed the…
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The Exit Interview: Matthew Teitelbaum
June 26, 2015 marks Matthew Teitelbaum’s last day as the director and CEO of the Art Gallery of Ontario (AGO). His departure caps 22 years…
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Paul P. on Two Works by Stephen Andrews
There have been many works of art made by artists about September 11th; countless artworks attempting to make sense of, or commemorate, the geopolitical…
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Parsing Re-Performance and Institutional Critique in the Choreography of Sasha Kleinplatz
what about doing the same piece for the rest of your life in different iterations? Chorus II as a work for children? as solo?…
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Interview: The Difficulty in Distilling Suzy Lake
Suzy Lake occupies a unique position in contemporary art history, having both helmed and contributed to the advent and advancement of at least three…
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