Tag Archives: exhibition review

AMOUR FOU: Exposing the Messiness Love

by Shaina Dickson

Angela Washko (Her Longing Eyes) , Brendan Van Hek (Red Composition #1) and Pippilotti Rist (I'm not the Girl Who Misses Much)

Angela Washko (Her Longing Eyes) , Brendan Van Hek (Red Composition #1) and Pippilotti Rist (I’m not the Girl Who Misses Much)

The New Media Gallery in New Westminister opened its latest exhibition, AMOUR FOU, appropriately on Valentines Day. Ten featuring artists take on the daunting task of exposing what love truly is: raunchy, damaging, but something we always fall back to. From flashy video installations and large-scale projections to kinky neon works, this versatile exhibition gives the viewer a sensory overload; the gallery is overflowing with sound and light, which fill the space with the anxious energy that we often feel throughout our affairs with love. Despite the exhibit inhabiting nine individual pieces, I couldn’t help but perceive them as one large, interconnected piece. The lights and sounds emanating from each work overlap and interact with one another: layering and conversing, never allowing the viewer to isolate their experience with one piece. Continue reading


Here Today, Gone Tomorrow: Tate’s Gallery of Lost Art

by Zoya Mirzaghitova

With the emergence of experimental and innovative ways to exhibit art, the internet has seen its fair share of exhibitions. Websites such as the Google Art Project, ARTstor, gallery websites and other blog or tumblr driven collections of images have filled the internet with opportunities to see works from all over the world. Although many would agree that an old fashioned visit to the gallery beats looking at an image on your screen, no matter the resolution. Despite the various new possibilities of the online medium, these collections have tried their best to stick to the traditional art-on-the-white-wall exhibition method. Online exhibits have yet to offer anything innovative—until now. Continue reading

The Apotheosis of Painting: Gordon Payne at Satellite Gallery

By Rhys Edwards

The work of artist Gordon Payne is not abstract. It is not representational either. Instead, Payne has an incredible ability to tread finely between both maxims, creating compositions that are not even really compositions in the true sense of the term. In effect, the only objective quality that can truly be attributed to Payne’s images is the pure reification of painting itself.

ISTAMBUL, 2007-10 encaustic and alkyd on OSB board 61.5 x 45.5 cm

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Aerosol and Institutions: Graffiti Art, the Street and Commercial Galleries

I recently attended an artist’s talk at the Elliot Louis Gallery held in conjunction with their exhibition Letters: A Drawing Show by 7 Graffiti Artists. This exhibition featured a wide variety of paintings, prints, and drawings created by several local street artists whose work is relatively unknown in the Vancouver commercial art world. Of interest in the discussion was the notion of ‘legitimacy,’ which was ascribed to the featured artists by the moderator. The moderator, who represented the gallery, used the term ‘legitimate’ in the sense that the artists in the show were working legally, as opposed to graffiti artists who ‘exhibit’ on private and public property.

YouTube still from “It’s All About Art: Letters”

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Seen as It Was Conceived: Or Gallery’s “The Unspeakable Compromise of the Portable Work”

by Sean Michael Nelson

The blog for Or Gallery’s current off-site exhibition The Unspeakable Compromise of the Portable Work features a post by artist Igor Santizo, wherein a black spot is placed over top of several images. This transposition onto a space radically alters how it is perceived. As I Enter office 202 at 3540 West 41st, the space of the exhibition, I receive a similar impression.

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Destroy This Memory

On a recent trip to San Francisco I had the pleasure of visiting the SFMOMA, and was astounded by the beautiful building, the numerous, inspiring exhibitions, and the welcoming atmosphere. I was also left breathless by the seemingly endless steps up to the rooftop cafe, confirming my suspicion that San Francisco likes to make its visitors earn their coffee.

From the David Claerbout Architecture of Narrative show to the extensive Selected Histories 20th-Century art retrospective, there is no shortage of subject matter to discuss. I would like to, however, review one particular artist’s work within the Face of Our Time exhibit, a show that presented the work of five photographers observing and capturing what the world looks like to them.

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