[Fall 2017] Life Session Optica Du 28 janvier au 25 mars 2017 Par Charles Guilbert (French only) [Suite de l’article et autres images dans les versions imprimée et numérique du magazine.] Acheter cet article
[Fall 2016] by Charles Guilbert [Excerpt] The arts were turned upside down by the advent of the internet and social media, and photography perhaps more than any other art. The uninterrupted flow of images on the Web creates both anxiety and saturation. This chaos may be echoed in the disturbances that Carl Trahan explored in […]
[Winter 2016] [Excerpt] Charles Guilbert: With the two-part exhibition Near You No Cold, you are presenting for the first time photographs that you took in India during three visits (one lasting four months). Images of different kinds are on view: interior scenes, street scenes, landscapes, still lifes. What image of India were you trying to […]
[Fall 2015] By Isa Tousignant [Excerpt] Since 2012, Marc-Antoine K. Phaneuf has been working on a series of artworks titled Études préparatoires (dessins d’explosions), which he has presented in various venues and contexts. As he has often done in the past, Phaneuf revives found objects by inscribing them in a system of his own making. […]
It is quite uncommon for the association of two exhibitions to create a dialogue that becomes an artwork in itself. Yet, this is what Dazibao did by bringing together works by Jacinthe Lessard-L. and by the duo formed of Lorna Bauer and Jon Knowles.1 Their respective works, although different in tonality and look, intertwine to […]
October 18, 2017 [originally published in French in CV92 in Fall 2012] — Sometimes, thanks to a curator’s insight, a group exhibition be comes a work of art in itself. This is the case for “Chronicles of a Disappearance,” in which John Zeppetelli not only presents five artworks of an extraordinary density but, in bringing them together, weaves networks of meaning that greatly strengthen each artwork.
March 9, 2017 [originally published in CV89 in Fall 2011] — In John Max, a portrait, Michel Lamothe proves that an attentive gaze trained on the other may be transmuted into a deep meditation. To create this work, which is as fluid as a fiction film, Lamothe followed the photographer John Max for three years (from 2000 to 2003), accumulating 40 hours of footage – film that he spent months pruning and then editing, in collaboration with Louise Dugal…