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Suzy Lake

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Suzy Lake, Game Theory: Global Gamesmanship – Erin Silver, Queening the Pawn

Ciel variable 127 – SISTERS, FIGHTERS, QUEENS | Portfolios
Authors: Erin Silver | Artists: Suzy Lake

In the series Game Theory: Global Gamesmanship, Suzy Lake presents herself, both as queen and pawn, in a chess game illustrating the power relations of our societies.

Contact 2017, Focus on Canada – Jill Glessing

Ciel variable 108 - GOING PUBLIC | Essays
Authors: Jill Glessing | Artists: 2fik, Johan Hallberg-Campbell, Katherine Knight, Luis Jacob, Margo Pfeiff, Mark Lewis, Michael Snow, Michelle Latimer, Sandra Brewster, Suzy Lake

June 15, 2021 [originally published in French only in CV108 in Winter 2018] —
Promotion for “Canada 150” – marking the inception of the colonial enterprise of the “Dominion of Canada” and its unequal union with Quebec – was tepid, perhaps foretelling the inevitable response: a hundred and fifty years old – really? The land, of course, had been inhabited a little longer than that – about twelve thousand years – by Indigenous peoples…

Suzy Lake, Introducing Suzy Lake – Sam Cotter

Ciel variable 100 - REPLAY | Exhibition reviews
Authors: Sam Cotter | Artists: Suzy Lake

April 16, 2019 [originally published in CV100 in Spring 2015] — For over forty years, Suzy Lake has been engaging with the world of representation surrounding her, creating new images to open dialogues and complicate underlying ideologies. Introducing Suzy Lake, the first major museum retrospective of her work, organized by the Art Gallery of Ontario, looks to Lake’s performative engagement with the camera from the late 1960s to the present…

Suzy Lake – Sholem Krishtalka

Ciel variable 90 – COLLABORATIONS | Exhibition reviews
Authors: Sholem Krishtalka | Artists: Suzy Lake

May 8, 2017 [originally published in CV90 in Winter 2012] — In general, the art world is not kind to older women artists. Nan Goldin recently gave an interview in which she was brutally frank on the subject. She remarked that three-quarters of the art world wants her dead; her work has changed, but the market would rather have the Nan of yore: documents of seedy underbellies and demi-mondes. Now that she has the life perspective of a woman in her sixties, her hard-won ease does not square with the woman the art world wants her to be. Suzy Lake has made this harsh truth the core of her work. But then again, this is not a recent development…

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