“In Search of Expo 67” review in Canadian Art


I reviewed the MAC’s recent “In Search of Expo 67” exhibition for the Fall 2017 issue of Canadian Art. The piece isn’t online yet, but I’ll update when they eventually post it. In the meantime, check it out on the newsstand!


“Réponse” review in Canadian Art

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For the latest issue of Canadian Art (Spring 2017), I reviewed the “Réponse” exhibition that Vincent Bonin curated last Fall at the Musée d’art contemporain des Laurentides. It was a great show! The review is not yet available online, so check a newsstand if you’re interested. FYI, we are now carrying Canadian Art at Librairie Drawn & Quarterly.

6 New Montreal Art Spaces to Watch

Lina Viste Gronli, Milk, Language, Metaphysics, and Death, 2010. From a group exhibition at Raising Cattle, May/June 2016. 

I wrote a round-up of new art spaces in Montreal for Canadian Art. It was a fun piece to work on, more journalistic and less critical than most of what I’ve written lately — I got to visit a lot of spaces, talk to a lot of people, and write about a bunch of exhibitions that I might not have had the opportunity to cover as straight show reviews. You can read it here.

Morbid Symptoms: In Search of the Post-Contemporary at the 2016 Montreal Biennial

Anne Imhof, Angst III, 2016 (performance documentation). Photo courtesy BNL MTL.

My review of this year’s Montreal Biennial (with some reflections on this summer’s Berlin Biennial and art after Trump’s election) went up on Momus on November 22nd. As usual, it took me a month to post it on this site. You can read it here.

Who Was Edmund Alleyn?

Edmund Alleyn, Sans titre, 1966

I’m very happy to share this long essay on Edmund Alleyn’s current retrospective at the MAC Musée d’art contemporain de Montréal, which I’ve been working on for a while now. Mark Lanctôt did a really fantastic job curating this exhibition and I’ve enjoyed spending time with it.

This piece is actually the first time I’ve ever written anything substantial about a painter — a bit ironic, given that I have the privilege of being on the RBC Prize jury this year. It’s also the first time that the MAC has presented a major show on a deceased artist (aside from a couple of occasions in which an artist was living when a show was initiated and passed away during or shortly after the preparations). I think it’s particularly interesting as a historical show, and I try to reflect here on what it means for an artist to be “historical” and “contemporary” at the same time.

Also, since I have been totally neglecting this website, I never posted the review of Tricia Middleton’s solo exhibition at Antoine Ertaskiran that I wrote months ago, in February. Check it out, if you didn’t see it before.

Katie Bethune-Leamen – “Snog, Marry, Avoid” at Eastern Edge

I’m happy to announce that I wrote a text for Toronto-based artist Katie Bethune-Leamen’s solo exhibition at Eastern Edge in St. Johns, NL, which opens October 24th. The text is titled “Loving and Leaking: Katie Bethune-Leamen’s Cute Blobs,” and you can read it here. My thanks to Katie for the invite and to Chloe Lewis at EE for the ace editing.

This Is Where It Ends: the Denouement of Post-Internet Art in Jon Rafman’s Deep Web

Jon Rafman, You Are Standing in an Open Field (Waterfall), 2015
Jon Rafman, You Are Standing in an Open Field (Waterfall), 2015

Due to gross neglect of this blog, it’s taken me this long to post about my review of Jon Rafman’s solo show at Montreal Museum of Contemporary Art, which Momus published back in early July. At around 3000 words, it’s one of the more substantial pieces that I’ve written and I’m grateful to my editor for running it at its full length (minus a few footnotes). The exhibition itself just closed last weekend (along with David Altmejd’s equally popular solo show) after bringing in a record number of visitors for the museum.

I think it’s fair to say that my review also attracted more interest than most of my writing has to date. I’m very happy to announce that this piece will actually be republished soon in another venue. More details to come.