Review of Cheryl Cowdy, Canadian Suburban: Reimagining Space and Place in Postwar English Canadian Fiction (Montreal: McGill-Queen’s University Press, 2022)
Review of Joanna-Gierak Onoszko, 27 śmierci Toby’ego Obeda [The 27 Deaths of Toby Obed] (Warsaw: Dowody na istnienie, 2019)
Review of Irene Cheng, Charles L. Davis II, and Mabel O. Wilson, eds., Race and Modern Architecture: A Critical History from the Enlightenment to the Present (Pittsburgh: University of Pittsburgh Press, 2020)
This exhibition at the Canadian Centre for Architecture proposes a timely rereading of postmodernism that moves beyond the period’s self-generated theories, stylistic commonplaces, and images.
Questions of agency, land rights, and culture arose again and again in the McCord’s retrospective on nineteenth-century photographer William Notman, yet neither Notman’s work nor the exhibition framing it provided any easy answers.
As a gateway building, Lazaridis Hall is dramatic yet effortless, distinguishing itself from its surroundings and creating visual openness with continuous glazing at grade.
The fragments of this exhibition add up to an archive that attempts to answer a question: without the witness, how do we determine truth?
The ambiguity of nets, curtains, veils, drapes—means of concealing that can also reveal—permeates the large-scale works by Barbara Hobot on exhibit at the Kitchener-Waterloo Art Gallery (KWAG).
Nestled amongst the 1920s homes of a leafy neighbourhood in Hamilton, Hambly House seems to sail past the half-timbering, faux-stone cladding, and steeply pitched roofs of its neighbours.
Viewers become mediators, with the series of scenes on each screen flowing not past, but through this audience – asking them to act as witnesses to the visual dialogue.