Seeking Specificity in Postcommodity
To be given the opportunity to travel for the sake of art, even if it’s from one small dusty Prairie city to another, is…
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The Anxious “I”: Walter Scott’s Autofictional Universe
Walter Scott faces a dilemma that has confronted many multi-disciplinary artists, especially those who work in both contemporary art and more mass-cultural fields: being…
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It’s Okay to Laugh: The Political Turn in Bridget Moser’s Prop Art
When we meet on St. Catherine Street in Montreal on a chilly Thursday afternoon in October, Bridget Moser tells me she has recently been…
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What is to be Learned, What is to be Done? Thomas Hirschhorn at the Remai Modern
Three months ago, I bought a CD of poetry from Johnny Marceland, a sixty-year-old Dene man who lives in my hometown of Saskatoon. Throughout…
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“More Than Those Who Despised Her”: Unforgetting on the Prairies
How can – how should – the ghosts of our brutalized bodies be ushered into public space? This was the enigma posed by Gregory…
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Does the Right Hand Cover for the Left?: The Case of the Remai Modern and Its Errant Board
I take no pleasure in realizing the unpleasant aspects of something I’d otherwise be very proud of. In this case, the object of pride…
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