News

Machines Can’t Cry

Hearing a late famous poet recite his own verses as if he were sitting right next to you, watching marionettes deliver a touching performance with no puppeteer pulling the strings, seeing the beauty of the world with the eyes of a loved one who passed away: three works in the show, each occupying a separate gallery room, deliver these experiences …

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Resistance is Frozen

For the exhibit, “Architectures of the Body and the Built Environment: Impressions, Sensations and Expressions” at Galerie Pierre Léon Alliance Francaise, Toronto, January 11–February 4, 2017, Canadian sculptor W. Hung includes seven sculptures with heightened physical and metaphorical contrast: using “severe” architectural materials – steel, concrete, marble etc., – alongside expressive, polymer figures. With the differences in structures of forms …

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Extremely Minimal

There is nothing special about Canadian interdisciplinary artist, Lee Henderson’s installation, Known Effects of Lightning on the Body (2014). Nothing particularly remarkable enough for it to be included in the group exhibit “Weight of Light,” curated by Darryn Doull as part of his University of Toronto Curatorial Studies MVS-degree requirement. Nothing a to-be-curator grad would feel necessary to show now, …

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Manuel Mathieu, Nobody is Watching,

Haitian Artist Manuel Mathieu, (b. 1986) was raised in an environment infused with both danger and beauty. During the nearly two decades that he stayed in Haiti, he witnessed constant political upheaval in addition to rampant disease, and ongoing natural disasters, while imbibing the rich history of art and independence that is integral to the culture of Haiti. In an …

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Howard Finster at Carl Hammer Gallery

The first of the texts to grab my attention at Outsider Artist Howard Finster’s current show on display at Carl Hammer Gallery is a white clad angel enveloped in images of flying women in multi-colored dresses titled, “Heaven is for all people.”, completed in 1983. “Heaven is for All People, Jesus makes it plain how to get there. If you …

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Middling Balm

Patrick Heron at Tate St.Ives Patrick Heron’s writing on art put the St.Ives artists into public view. It’s a very enjoyable show with captions featuring remarks Patrick Heron wrote about painting, about the need to achieve balance, about the way the edges of a painting are so important as the onlooker’s eyes look from them to different points in the …

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Francisco Toledo: Mexico’s Psyche

Once again Washington DC’s largely insensitive and lax art community has seen an art maestro come and go. Francisco Toledo, hailing and thriving in Oaxaca Mexico, celebrated throughout the world, stirred not a yawn in the Washington DC art scene. He should have. The work of Toledo is primal, pyscho-sexual abundance, sub-conscious disruption and beauty. He works in many media …

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Minimalist Respite in Pittsburgh

In this, her third solo show, entitled You Will Arrive, at 707 Gallery, April 28 – June 17, Pittsburgh based artist Kara Skylling’s focus is on crafting intimately scaled, minimalist works on paper utilizing grid-like pencil designs and compartmentalized muted color. It is apparent that Skylling’s carefully conceived, rigidly controlled, underlying designs rely on a systematic approach to create frameworks …

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Power at the MOMA

This sprawling Adrian Piper retrospective offers an eye-catching challenge to visitors through its sometimes demure, sometimes hectoring, text-and-photo and performance art. Sticking with it pays off with a reflective, ethical and political pow. Piper was born in New York in 1948 and went with the counter-cultural flow of figurative psychedelia, changed to a somewhat purist Minimalism and Conceptualism before turning …

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Life at the Met

While an ambitious attempt to elide culturally and chronologically diverse, popular, scientific, and artistic sculptures of the human body, The Met’s “Like Life” overreaches. The show is ironically shapeless, despite sub-thematic organizational scheme. In addition, the several carved and polychromed Renaissance martyrs and slightly creepy Victorian material (such as effigies of organic matter and death masks), while relevant, are overstated …

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