Contemporary Art

Opinion is divided about what "contemporary art" refers to, but I regard it as a de facto historical period beginning in the 1960s, and I’m particularly interested in the enduring influence of conceptual art, and the postmodern fever that seemed to infect everyone in the 80s.  Pertaining to more recent artwork, my research addresses questions of material culture, the aesthetics of urban experience, and modes of representing nature, while I’ve also written about the neo-conceptual practices of Roni Horn, Melanie Smith, Janet Cardiff, and Philippe Pareno, and about the paintings of Peter Doig, Eleanor Bond, and Janet Werner.  One thing I appreciate about my job is that my department (Art History) is located within Concordia University’s large Faculty of Fine Arts, which means that I am continually crossing paths with, and collaborating with artists.

Publications

"Experiments in Urban Luminosity." The Senses and Society, Vol. 20, No. 10 (July 2015): 1-17. PDF

"Melanie Smith’s Regime of Unruly Things." In Melanie Smith: Short Circuit. Stuttgart: Villa Merkel, 2013. 38-43. PDF

"The Storm Room." OTP, No. 1 (September 2013).

"Impressions fugitives: pleinairismes d'heir et d'aujoud'hui / Something Fleeting: Old and New Pleiniairisms." À ciel ouvert: le nouveau pleinairisme, exhibition catalogue. Québec: Musée du Québec, 2012. 27-33 + 103-06. PDF

"Long Term Forecast." In Climats (Climates) Jocelyne Alloucherie, exhibition catalogue. Ottawa: Carleton University Art Gallery, 2012. 31-60. PDF

"Objets courants, matériaux énigmatiques / Everyday Objects, Enigmatic Materials." La triennale québécoise 2011: le travail qui nous attend. Montreal: Musée d’art contemporain, 2011. PDF

"Roni Horn’s Portrait of an Image: Revisiting “The Art of Reading Faces”." In Udine Permanent Seminar on History of Film XVI, conference publication. Udine,  2010.

"Janet Werner and the Surface of things." In Janet Werner Paintings, exhibition catalogue. Montreal: Parisian Laundry Gallery, 2008. PDF

"A human figure in full stride..." Randal Anderson’s Zoom! Montreal: FOFA Gallery, 2006.

"Landscape Immersions: Lynne Marsh’s Performative Spaces." Art Papers, Vol. 30, No. 2 (March/April 2006): 34-39. PDF

"The Great Escape." In Bill Burns: Safety Gear for Small Animals, exhibition catalogue. Montreal: Lian and Danny Taran Gallery, 2005. 32-51. PDF

"SYN: Appropriating the Megastructure." CV Photo, 69 (October 2005): 12-13. PDF

"Hallucinating Landscape, Canadian-style." In Peter Doig, exhibition catalogue.  Vancouver: Belkin Art Gallery, 2001. 10-14. PDF

"Outside Matters." In Elusive Paradise: The Millennium Prize, exhibition catalogue. Ottawa: National Gallery of Canada, 2001. 37-54. PDF

"Rainbows and other Ruins: Peter Doig’s Paintings."In Afterall. London: Central Saint Martins College of Art and Design, May 2000. 85-94. PDF

"Space-Age Slow Motion."  In Gravity Duet: Video Installations by Nina Levitt, exhibition  catalogue. Toronto: Toronto Photographers Workshop, 1999. 12-22. PDF

"Peindre la ville, peindre la mutabilité / Painting the City, Painting Mutability." In Eleanor Bond, exhibition catalogue. Montreal: Musée d’art contemporain de Montréal, 1998. 25-31 + 38-41. PDF

"Fake Animals, Anthropomorphism, and other Travesties of Nature." Parachute, No. 72 (October 1993): 18-21. PDF

"The Provisional Stillness of Photographic Space." In Social Studies, Still Lives exhibition catalogue. Montreal: Mois de la Photo, 1993. PDF

"Fastwürms and the Art of Recycling Canadian Landscape." Parachute, No. 63 (July 1991): 60-61. PDF

"Fragments in a Narrative (Review of Bill Burns at Galerie Chantal Boulanger)." ETC  Montreal, No. 15 (Summer 1991): 42-43. PDF

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