Momus.ca Website Review

how a dyna*ty defines taste: the de*p roots of middle eastern abstraction. the symbolism of ornament has long founded shannon bool’s practice, and that’s lucky. it’s lucky that something so alluring could be a common an*logy for a sprawling, hypnotic, and potentially fruitless search on the internet is the rabbit hole: dark, long, and terminating. how a dyna*ty defines taste: the de*p roots of middle eastern abstraction. the nicolas ibrahim sursock museum opened its grand stairway entrance to the public on november 18, 1961, nine years after the death of there is a room for reflection with plush fuchsia carpeting outside of american monument, an exhibition by lauren woods (she always uses “the internet wouldn’t exist without p*rnography,” marilyn minter quipped on at least two occasions while in hong kong for the “when in rome, do as the romans do.” it sounds like good advice, but romans seem largely to ignore william kentridge’s triumphs and. branding the anthropocene: canada’s art institutions privilege the artificial. anthropocene – the wide-reaching exhibition at the art gallery of ontario (ago) and the national gallery of canada (ngc) – tackles imagine … imagine being invited by the musée d’orsay to interpret its magnificent collection while also including your own artwork in an i first observed the uncanny paintings of ambera wellmann in an intimate solo show at toronto’s now-defunct richard rhodes dupont. the curtain’s part: confronting abstraction’s complacency in unquiet times. neil wedman’s spotlights, on view at vancouver’s equinox gallery, fills the exhibition space with ten canvases depicting the one morning in graz, a woman carries a large portrait of adolf hitler on a bus through the center of the city. it’s an…. episode 7: “over, again and again,” renewing canada’s artist-run culture.  in momus: the podcast‘s 7th episode, we have brought together a group of artists, curators, and scholars to update the conversation