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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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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There’s a soft delicacy in the works that comprise Rilla Marshall’s Liminal Project, which makes the realization of its decidedly uncomfortable subject matter all the more jarring and arresting.
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Delving into the personal and surreal, Neil LaPierre is committed to bringing the HA-HA’s into art discourse.
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Richard Mueller is not so interested in coherent pictorial space or literal depiction as in the potential of formal arrangements to engender associative and emotional responses “independent of literal language.”
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L’Acadie Mythique, a travelling exhibition that recently visited the Saint Mary’s University Art Gallery, is curated by Harlan Johnson and features nearly twenty different artists from across the Acadian diaspora.
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Visual Arts News was excited to feature the work of artist Jordan Bennett in our Fall 2015 issue. In this online installation of her interview series, Current Conditions & Forecasts, Eryn Foster chats with Bennett about everything ranging from his experiences representing Newfoundland in Venice to his work bringing traditional Indigenous art forms into contemporary art discourse. ERYN FOSTER: You...
Read MoreAs we walked downtown, my friend described how two old hags had chewed on either side of her neck the night before. It wasn’t the first time. “I’ve learned that the trick,” she told me, “is that I just have to let it happen, to remind myself that it’s not real.” This was a...
Read MoreCathy Busby displays the artworks that the Confederation Centre Art Gallery’s first director, Moncrieff Williamson, acquired half a century ago on a shoestring budget ahead of a royal visit from the Queen. Or at least, what was left of them.
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While exploring Anatomica, I experienced several moments of disorientation, unsure whether I was approaching a piece with stronger connections to an artists’ studio or a laboratory. Take the human spine curving from a steel frame in the gallery. From a distance, artist Sarah Maloney’s Vertebrae, Sacrum, Coccyx looks like a replica meant to be...
Read MoreFolklore And Other Panics addresses the impossibility of “alleviating anxiety around elitism” in the contemporary art world. And further, according to the exhibition’s pamphlet, “the works provide a constellation of ideas, responding in various ways to themes of absence and presence, community, the materials of storytelling, and the nature of authority.”
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Editor’s note: This review of Earth Skins at Mount Saint Vincent University Art Gallery (Halifax, NS, August 23 – October 2, 2011) first appeared in the Spring 2012 issue of Visual Arts News. A retrospective publication of Earth Skins can be purchased here. I was the first visitor to wander into to Earth Skins: Three...
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