Emily Critch is a visual artist, curator, and writer of Mi’kmaq and settler ancestry from Elmastukwek, Ktaqamkuk (Bay of Island, Newfoundland). Critch’s work was recently featured in Future Possible (2019) at The Rooms and her upcoming curatorial project mitsujuk | kussikuashu | kpitni’sewet | they sew will be exhibiting in Corner Brook in 2020. Critch...
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“Hometactics,” according to Latina philosopher Mariana Ortega, is a notion of everyday praxis as a way to feel comfortable in unwelcoming worlds, all the while remaining aware of the oppressive nature of dominant norms in those worlds. The contradiction of finding comfort in a hostile environment can be observed in Memorial: Work by Venezuelan Diaspora...
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The exhibition Sovereign Acts includes the work of Indigenous artists Rebecca Belmore, Lori Blondeau, Dayna Danger, Robert Houle, James Luna, Shelley Niro, Adrian Stimson, and Jeff Thomas as they explore various aspects of artistic performance as an act of cultural resistance.
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MacDonald tells me that “this work is sad. It is about contemporary mourning and historical mourning, but it is also a call to action and to empathy.” In these betweens there is also a generative tension that illuminates hope and possibility.
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Visual Arts News magazine presents Michelle Sylliboy's Halifax launch of her new book of photography and Mi'kmaq (L'nuk) hieroglyphic poetry: Kiskajeyi - I Am Ready, in partnership with the Halifax Central Library and Rebel Mountain Press.
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Cape Breton has existed as a Shangri-La of sorts for Americans for over half a century, firmly rooting itself in the imaginary of New York’s avant-garde circles, political radicals, draft dodgers, back-to-the-landers and, more recently, those simply looking for an affordable getaway.
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The works in The Long Time transmit the sense that you’re missing or meeting something, getting just a trace of what came before and what is coming next.
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Why In this Place was a groundbreaking exhibition for Black artists in Nova Scotia
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Like snapshots of ephemeral performances and land art pieces, or installation shots which end up being re-presented in their own installative environments, Greenshaw captures in her work exemplary paradoxes.
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Mike Landry traces conceptual artist David Askevold's chance encounters and collaborations on the road.
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Moncton-based photographer and filmmaker Jaret Belliveau’s photographic work addresses illness and loss. Arguably, Belliveau is best known for his series Dominion Street (2003-2008), which began as a visual investigation into family dynamics and the hegemonic balances of power that maintain them. However, ten months into the project, Belliveau’s mother was diagnosed with stomach cancer. Soon...
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