The Art of Protest
The relationship between art and protest has never been a stable one. It’s also a relation that perhaps suffers from being posed in the…
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“I Think We’re Changing Into a Tribal Nation”: A Conversation with Dave Hickey on “25 Women”
When you have as many critics as Dave Hickey, you don’t hope to publish a book quietly so much as attract the right kind…
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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 Hermetic Lyricism of Anri Sala
“When I first showed the city footage in Poughkeepsie, [artist] Liam Gillick said to me, ‘Anri, tell me the truth. Tell me that this…
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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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Back to the Future: The Social-Activist Architecture of Moshe Safdie
A recent exhibition at the National Academy Museum in New York raised the question Moshe Safdie (born 1938) has wrestled with his whole career. Is…
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“How to Lie About Canadian Art”: A Case Study in Art Criticism
Art criticism doesn’t often speculate on the value of pithy maxims such as ‘there’s no such thing as bad publicity.” But when an article…
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Only at Home in a Paradox: M.C. Escher Gets His Artworld Due
Like Gustav Klimt or Claude Monet, the unwilling darlings of dorm room posters everywhere, Maurits Cornelis Escher belongs to the class of meritorious artists…
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How to See the Invisible
“An SEP,” he said, “is something that we can’t see, or don’t see, or our brain doesn’t let us see, because we think that…
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Redefining the Sex in the Sale at Birch Contemporary
In the wake of last year’s No Man’s Land: Women Artist’s from The Rubell Family Collection, and the unprecedented Larry Gagosian / Jeffrey Deitch…
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