Kim Adams: One for the Road, on view in Hamilton until May 4, 2014, examines that sense of place, home, and strange new worlds. It also reflects the artist’s 30-year career as an obsessive and enthusiastic assembler and sculptor.
Collage is one of those art forms—like free verse or abstract
painting—that always looks deceptively easy. Any scrapbooking housewife
can cut and paste magazine pictures together, right? So what makes some
Canadian photographer Phil Bergerson’s creative process is a mix of archaeology, anthropology, a bit of sleuthing, and a liberal dose of empathy for the foibles of his fellow humans. His current exhibition at the Ryerson Image Centre in Toronto allows the viewer to walk in his footsteps as he hones in on his subject.
Althea Thauberger’s and Damian Moppett’s respective explorations of performance and the stage—whether it’s the video as stage, or the studio as stage—make for some interesting parallels. There is much for viewers to contemplate in these distinct, yet equally engaging, installations currently on view at the SFU Galleries.
Paul Lang, Deputy Director and Chief Curator of the National Gallery of Canada, and Ian Thom, the Vancouver Art Gallery's Senior Curator of Historical Art, sit down for an informal chat in front of Thomas Couture's Supper at the Maison d'Or (1855).
In this video Christopher Davidson, NGC curatorial assistant of Canadian art, introduces the recently installed exhibition of works in plastic in gallery B107, currently on view at the National Gallery of Canada.
Don't miss this photo gallery accompanied by quotes from the artist himself. John Ruskin: Artist and Observer is on view at the NGC from 14 February until 11 May 2014.
John Ruskin, Self-portrait (1874), graphite on white paper; 25.4 × 20.4 cm. Ruskin Foundation (Ruskin Library, Lancaster University) (RF 991). Image courtesy of the Ruskin Foundation