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FALL 2018

Soheila Esfahani’s Portable Culture / Profile by Valerie Behiery

Unknown Lands / Editorial by Lizzy Hill

Tracing Rivers + Stories with Carrie Allison / Q + A by Mollie Cronin

Lorraine Field confronts our mortality / Review by Daniel Higham

Symbolically connected / Editorial by Lizzy Hill

Amery Sandford’s complex relationship with Newfoundland identity / Essay by Craig Francis Power

Stephanie Yee’s feast for thought / Profile by Jonathan Rotzstain

A walk through Rachel Morouney’s funerary jars / Review by Kathleen Higgins

Remembering Felicity Redgrave / In memoriam by Ray Cronin

Jordan Bennett, Ursula Johnson and the potency of language / Review by Craig Francis Power

Gallery Guide / Exhibition listings by Lizzy Hill

Feminist data visualization and the politics of information / Review by Amanda Shore

Landon Mackenzie’s personal creative process / Review by Ray Cronin

Richard Ibghy and Marilou Lemmens assess our relationship with work / Review by Geordie Miller

INSIDE/OUT

Rilla Marshall maps lost terrain: Review by Kathleen Higgins

Inside Out: Editorial by Lizzy Hill

Artists explore the domestic: Review by Mary MacDonald

On environments with Jesse Jacobs: Profile by Jonathan Rotsztain

Unearthing Hank Bull: Review by Kathleen Higgins

Ray Fenwick’s identities in flux: Dispatch by sophia bartholomew

Gallery Guide

On interpreting the woodland: Eryn Foster interviews Susan Tooke

Artist Page: Tonia Di Risio

Towards a theory of grant aesthetics: Essay by Merray Gerges

In the Issue:

Janet Wright-Cheney’s Cellar: Review by Audrey Nicoll

Editorial by Lizzy Hill: (in)habit

Séripop’s exploration of entropy: Review by Christian Ledwell

Making Otherwise: Review by Daniel Higham

Jeff Whetstone’s Feral Lands: Review by Kathleen Higgins

Petapan First Light Arts Symposium: Art News by Shannon Webb-Campbell

Black Ice: David Blackwood: Book Review by Lizzy Hill

Colville: Book Review by Mike Landry

Exhibition Spotlight: Your Spring gallery guide

(im)mobile’s shifting spaces: Review by Kathleen Higgins

Camp Fire’s subversive ceramics:Review by Hilary Beaumont

Mathieu Léger’s Cultural Detritus: Review by Mike Landry

On Community: Editorial by Lizzy Hill

Artist Pages: Jerry Ropson

Jerry Ropson’s everyday curiosities: Q & A by Kaylee Maddison 

Doing Our Own Thing: Review by Tila Kellman

Ursula Johnson’s Mi’kwite’tmn (Do You Remember): Review by Hilary Beaumont

Oh, Canada comes home: Feature by Lizzy Hill

Emily Falencki’s  solo exhibition at the AGNS: Review by Audrey Nicoll

Halifax’s Art Boat Project: Art News by Daniel Higham

All that Glows: Review by Kathleen Higgins

Hangama Amiri’s love of place: Profile by Veronica Simmonds

Decoding Graeme Patterson: Feature by Audrey Nicoll

The Nostalgia Issue: Editorial by Lizzy Hill

Mike Gough’s RETRACE: Review by Jennifer McVeigh

Magic and Realism: Essay by Aaron Weldon

Rose Adams: Survival, death and remembering: Feature by Tila Kellman

Exhibition Listings Summer 2014

Revisiting rebellion with the launch of Queer Looking, Queer Acting Revisited: Feature by Hilary Beaumont

A conversation with John Devlin: Q&A by Eryn Foster

André Lapointe’s natural fakes: Feature by Mike Landry

Somewheres’ uneasy impermanence: Review by leonard paul macpherson

Melanie Colosimo’s Midpoint: Review by Katie Belcher

nichola feldman-kiss’ embedded art: Q&A by Veronica Simmonds

Tamara Huxtable on coming clean: Atlantic Spotlight by Daniel Higham

Unearthing Moncton’s most controversial art show: Feature by Mike Landry

The Power Issue: Editorial by Lizzy Hill

Scott Saunders’ Guerilla Galleries: Feature by Kathleen Higgins

True Grit’s power play: Review by Daniel Higham

Mapping social capital in the Canadian art world: Response by Sophia Bartholomew

Rita McKeough’s industrial feast: Review by Hilary Beaumont

Artist Pages: Sarah Burwash

Current Conditions and Forecasts:  Eryn Foster interviews Katie Belcher

Entangled Particles’ haunting poetry: Review by Shannon Webb Campbell

Duane Linklater investigates the nature of language: Profile by Adria Young

Feature: On the Road with David Askevold by Mike Landry
Editorial by Lizzy Hill: The Nomadic Issue
Review: Shary Boyle’s Underwater Subconscious by Mireille Eagan
Profile: Getting lost with Melanie Authier by Allison Saunders
Review: Steve Higgins New Work by Tila Kellman
Exhibition Listings
Feature: Unearthing the Eyelevel archives by Daniel Higham
Field Notes: Lucy Pawlak’s “third space” on Fogo Island by Kay Burns
Review: Daniel Vogel’s Siftor and My Name is Owen by Mike Landry
Review: Motion Activated connects sound and movement by Adria Young
Community Focus: Hannah Minzloff’s Portraits on Portland by Heather L. MacLeod
In Memorian: Alex Colville’s Visual Poetry by Ray Cronin
Backpage Response: Objection tackles the craft/art semantic by Aaron Weldon

Profile: Between alchemy and art: Darren Emeneau
by Mike Landry

Editorial by Lizzy Hill: The End of Nature?

Review: Declan O`Dowd’s Deer Gardens
by Veronica Simmonds

Interview: In the studio with salvage-artist Arianne Pollett-Brannen
by Hilary Beaumont

Profile: Pat Hickman explores mortality and impermanence
by Jaime Forsythe

Review: Robyn Moody’s Butterflies. Species at the Edge of Reason
by Kathleen Higgins

Exhibition Listings

Review: Position as Desired/Exploring African Canadian Identity: Photographs from the Wedge Collection
by Hilary Beaumont

Snapshot Review: Adrian Fish’s The Soto / Hasid Project
by Daniel Joyce

Interview: John Murchie, Sackville`s jack of all trades
by Eryn Foster

Review: Craig Francis Power`s Les Fleurs Du Mal
by Adria Young

Profile by Shannon Webb-Campbell: Ehryn Torrell finds life in crumbling cityscapes
Editorial by Lizzy Hill: The Ragpicker’s Issue
Feature by Christian Ledwell: Swintak and Miller’s Tower of Babble
Feature by Jaime Forsythe: Thinking outside the white cube
Snapshot Review by Natascia Lypny: Marigold Santos’ Coven Ring
Snapshot Review by Kristie McCallum: Chase Gallery’s ReVISION
Review by Crystal Melville: Peter Dykhuis’ Inventories and Micro-mapping
Review by Kathleen Higgins: Kai Chan’s A Spider’s Logic
Review by Tila Kellman: Barb McLean’s Markers and Tracings
Q & A: Allison Saunders and James Guerts
Snapshot Review by Joan Sullivan: Hazel Meyers’ Walls to the Ball
Community Focus by Mike Landry: Jaune Evans’s Collecting Fog and Peter Cunningham’s Dead Reckoning
Spring 2013 Exhibition Listings for Atlantic Canada

For complete access, purchase Visual Arts News on Zinio.

Tracing Oh Canada’s Atlantic Canadian Inspiration at MASS MOCA
Cover: Andrea Mortson, Swan Pond Night Fall, 2009-2010.

Plus Skin: the seduction of surface at the Art Gallery of Nova Scotia; Tuning into Dalhousie University Art Gallery’s Sounding Selves; Holding on with performance artist Stephen Mueller; Examining the social history of women labourers with Emily Davidson’s Agitate, Educate, Organise; Snapshot Reviews of Michael Pittman’s Haunted Halfand Troy Lovegates AKA OTHER’s exhibition at (((Parentheses))) Gallery.Turning the lens inwards with photographer Jaret Belliveau; Exploring Alexandra McCurdy’s tribute to hard working women and textile culture.Re-imagining Pictou, Nova Scotia at the W(here) Festival; Transforming Point Pleasant Park’s Gatekeeper’s Lodge with Lisa Lipton’s Window Ballet 2: Electric Boogaloo; Nate Larson andMarni Shindelman’s Geolocation: Maritimes capture Saint John.

Review: Allison Saunders explores Douglas Walker’s Other Worlds. Cover image: Douglas Walker, Small Building, 2011

Plus Audrey Nicoll reviews Ruth Cuthand’s Back Talk (works 1983-2009); Beaverbrook Art Gallery’s chief curator Terry Graff chats about the materiality of paint and his exhibition Goop, Guck, And Globs with writer Mike Landry; Stefan Hancherow considers the cyclical nature of Assembly Lines at PEI’s Confederation Centre of the Arts; Visual Arts News writers narrow down your summer reading list; Katie Belcher considers the physicality of works in the Art Gallery of Nova Scotia’s Material World; Artist Cecil Day captures Nova Scotia’s trapping history; Veronica Simmonds tracks the evolution of Nova Scotia’s “Rabbit Movement;”  And Adria Young catches up with Chris Foster and Natalie Slater, the duo behind the Periodical Project.

Review: Kelly Mark, Exist, 2009 (cover) paired with work by Micah Lexier in Head-to-Head at Saint Mary’s University Art Gallery in Halifax.

Plus cut/fold/play, Tila Kellman reviews Paper Doll at Owen’s Art Gallery,  Laura Kenins’ contextualizes Atlantic Canada’s floating media landscapes alongside 3x3x3, Stephanie Springgay collects field notes with Toronto’s Mammalian Diving Reflex’s Nightwalks with Teenagers in Cape Breton, Mike Landry reveals Andrew McPhail‘s second-skin,  Crystal Melville maps statelessness at Nocturne: Art at Night 2012, in conversation with Shannon Webb-Campbell  Robert Bean talks obsolescence, Sophie Pilipczuk inhales and exhales Susan Wood’s 30-year retrospective – Earth Skins – at MSVU Art Gallery and curator, J.J. Kegan McFadden reflects on the intricacies of waiting… and more.

Review: Amalie Aitkens, Girl in the Reed with Bolex, 2010 (cover) at the Owen’s Art Gallery’s Bona Fide: Handmade and Homemade.

Plus Dirt, Detritus and Vermin & In an Ancient Garden at MSVU Art Gallery, the Debert Diefenbunker, Jared Peters at Ingrid Mueller  Art + Concepts, Artist pages on the 20111 Sobey Art Award’s short-listed artists Becka Viau & Zeke Moores, taking in rural residence with Rebecca Roher, a thoughtful Q&A tuning with Craig Leonard, Toronto Images Festival retrospective of James MacSwain and a glimpse of the Venice Biennale.

Profile: Ursula Johnson (cover)

Plus reviews and features on Sarah Maloney, Norma Jean MacLean, Tonia De Risio’s Feed, The Abbie Table Project, Kim Morgan’s Range Light, Ray Mackie, Betty Goodwin, a tribute to Mary Sparling and a feature on artist residencies at the Gatekeeper’s lodge in Halifax’s Point Pleasant Park.

Reviews: Teresa Bergen (cover)

Plus reviews of Kristen Ivey and What Remains, Response, Making Tracks, Losing It, Tidelines, Stephen Kelly, Elena Popova, Erica Rutherford, Janice Wright Cheney and more. With a recap of Halifax’s Nocturne Festival and a feature on a new artist-run centre in Prince Edward Island.

Reviews: Scott Conarroe at MSVU Gallery (cover).

Plus David Hoffos, Bill Marshall, Shorelines, Gerard Collins, Colin Campbell, Onni Nordman, Gerard Beaulieu and Clark Ferguson. With a feature on Atlantic Canadian art and the recession and artist pages by Micah Lexier and Mireille Eagan.

Reviews: Marc Bell at Owens Gallery (cover), and as part of the group show Pulp Fiction at Saint Mary’s University Art Gallery.

Plus David Harper, Diane Landry, Jean Pierre Gauthier, Gerard Collins, Kate Beaton and Yo Rodeo. With features on Gallery Connexion and art education in Nova Scotia. Artist pages by WhiteFeather and Carol Collicutt

Reviews: Sophie Jodoin, Small Dramas & Little Nothings (2008-09) at MSVU Gallery (cover).

Plus Guerrilla Girls come to Nova Scotia, contemporary art in Inverness, Sara Angelucci, Dozay Christmas, Hannah Minzloff and Jeannie Thib. With features on walking with Hamish Fulton and a Venice Biennale report.

Reviews: Susan Bozic at MSVU Gallery (cover).

Plus Chris Joyce, Eyelevel Gallery Unplugged, David Dahms, Steve Higgins, Nicolas Baier, Sometimes Always. With features on the struggles of regional arts councils and Atlantic Canadian arts festivals.

Reviews: Martha Wilson, founder of Franklin Furnace and member of the collective Guerrilla Girls, returns to Halifax with a retrospective exhibition, Staging the Self, at Dalhousie Art Gallery.

Plus Lynn Rotin, Peter Coffman, Felicity Redgrave, Fenn Martin with Nicolas Johnson, Stephanie McNair, Theo Meltzer-Gardner. With features on the history of Nova Scotia artists going “back to the land” and the state of provincial permanent collections.