Redrawing the Margins
Mario Doucette + the Acadians as outsiders
"In my paintings I highlight heroes that people should know who we don’t learn about in school. We didn’t know that there was an Acadian resistance."
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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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Beyond a seat at the table
Black Nova Scotian artists confront the whitewashing of our art scene
Black contemporary artists constantly have to explain themselves to be accepted into the dominant framework. Their work is often defined as activism, without their consent, merely because it is presented from their own worldview.
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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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Indigenous artists vs. Paul Kane’s controversial legacy
Exploring depictions of indigenous people in art history archives
Visual Arts News' research intern explores the legacy of two NFB films from the '70s—One film portrayed Indigenous people in visual art, while the other depicted Indigenous people as visual art.
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Steele + Tomczak collect strangers’ confessions
The Long Time collapses the distance between "us" and "others"
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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Emily Lawrence in conversation with Kyle Alden Martens
Visual Arts News Artist-to-Artist podcast series
Artists Kyle Alden Martens and Emily Lawrence both create playful work that subtly destabilizes traditionally heteronormative arenas—sports for Martens and mainstream porn and Martha Stewart cooking demonstrations for Lawrence.
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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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The NSCAD Venice Connection
NSCAD has its fingerprints all over the Venice Biennale this year
Representation of NSCAD across multiple shows and national delegations underline the school’s place in the broader art world, as well as Atlantic Canada’s slow move away from the international art world’s periphery.
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Ursula Johnson: Weaving history
"You begin to weave and it’s almost as if the wood is telling you what direction to move in"
Johnson is concerned that Mi’kmaq baskets will become obsolete, referenced only in archives or glanced at as artifacts on the dusty shelves of art collectors.
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