Magazine

Clay Rebellion

Michael Flaherty + the politics of making

"My interpretation of art history is that craft is conceptual art. Craft was a whole new field invented by certain artists as a reaction to the industrial revolution."

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Brendan Fernandes’ hybrid ghosts

The Kenyan-born artist re-animates lost worlds

"For me growing up in East Africa and living in the Western world, when I first came, there was always this idea that I was exotic."

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The myth of home

Jerry Ropson’s powerful exploration of loss

Jerry Ropson’s to kiss a goat between the horns is a memorial to a cultural vernacular and way of life that has already left us—his grandfather's rural Newfoundland culture.

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Words of resistance

Jordan Bennett, Ursula Johnson and the potency of language

Johnson and Bennett create a fitting metaphor for the original and ongoing white-washing of Indigenous language and culture in our society at large and artistic culture in Canada.

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Landon Mackenzie’s hidden creative journey

“Finishing is recognizing—you recognize something that doesn’t exist yet in the world.”

“People thought I was a guy. I kept secret that I had three kids. I kept secret that I was a woman.”

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Amery Sandford

Amery Sandford: Master of ceremonies

Exploring our complex relationship with Newfoundland identity

Amery Sandford draws upon the history of touristic paraphernalia, such as postcards and brochures from the early 20th Century that depicted North America as a pristine escape from the cultural and economic troubles of one’s homeland—a new frontier.

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Ambera Wellmann brings illusion to Instagram

"Some of my images have upset people but I just don't care."

Ambera Wellmann's oil and Instagram works are in dialogue with the rich tradition of European painting. Wellmann's pushing both mediums and proving the timeless potency of the unsettling image.

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Holding space with Rachel Beach

Mid Sentence's works come to life in SMU Art Gallery

That these pieces “live” as they do is overwhelmingly apparent in Mid-Sentence; they exist in conversation with each other across distance and time, a living interaction, and they evoke a sense beyond the physically sculptural, beyond image, to live in relation to the viewer.

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New Found Lands magnifies the margins

Artists pay homage to the Afro-Carribean voices the history books ignore

With New Found Lands, curators Pamela Edmonds and Bushra Junaid have reimagined a narrative by magnifying its margins.

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Flesh and fiber

WhiteFeather Hunter takes bio art to new frontiers

WhiteFeather Hunter is creating living textiles: using her own hair, silk or gut sutures and mini 3D-printed looms and crochet hooks to weave scaffolding upon which connective tissue can foster.

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Marigold Santos’ hybrid selves

The otherworldly magic of Filipina/Canadian artist Marigold Santos

Inspired by the terrifying tales of mythical monsters she connected with as a child, Marigold Santos unravels her memories and experiences to form her own personal myths, inspiring viewers to do the same.

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Towards a theory of grant aesthetics

Visual Arts News Critical Writer in Residence Essay Series: Vol. 1

In an art world unbeholden to market forces, what’s the correlation between the jurors of funding councils and awards to who they render visible and the image of Canadian that presents to the rest of the world?

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