Exhibition Notes
Record the viewing and thinking while walking through exhibition halls around the world. In the labyrinth of art, penetrate the fog of color and form, and look for the weak but tenacious light of humanity, the light of thought, and the light of progress of the times.
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Walking among the hundreds of tents at the Toronto Outdoor Art Fair, I photographed everything from paintings, sculpture, and photography to the artists, visitors, and pets—all part of the open exchange that art created in the city square.
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A chance encounter in Hong Kong leads me into Tai Kwun, a former prison transformed into an arts complex, where Murakami’s dazzling flowers, characters, and merchandise offer an introduction to Superflat art and its tensions with commerce.
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Looking back at the 1960s through Pop, Minimalism, and Conceptual art, this essay considers the “afterimages” left by consumer culture, war, civil rights, and new materials—and their continuing influence on contemporary consciousness.
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Placing Ansel Adams’s classic images of nature alongside work by his predecessors and contemporary photographers, the exhibition reexamines his environmental advocacy, social documentation, and the legacy of the American West’s visual tradition.
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SFMOMA’s Sightlines brings together more than two hundred photographs, organizing them not chronologically but around ways of seeing, photographic processes, and themes of belonging, empathy, and innovation.
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At the Montreal Museum of Fine Arts, How Long Does It Take for One Voice to Reach Another? placed ancient manuscripts alongside contemporary installations, inviting visitors to reflect on isolation, listening, and voices that have been suppressed.
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A day spent moving between the Yorkville Mural Festival and a North Toronto outdoor art tour reveals the energy of art returning to the streets through encounters among public spaces, artists, and viewers.
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The Art Gallery of Ontario retrospective traces Andy Warhol’s journey from a working-class immigrant family through commercial illustration, the Factory, and the imagery of Pop, revealing the identity, desire, and anxiety behind his fame.
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At Toronto’s The Artist Project, I turned my attention from the works to their makers, using conversations and portraits to explore their ideas, methods, and ways of presenting art to the market.
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Growing weary of the elaborate techniques behind spectacular photographs, the author turns to film and rediscovers, at a small Hong Kong exhibition, the simple pleasures of travel, the darkroom, and looking at photographs for their own sake.
