Category Archives: Reviews

Le Mois de la Photo à Montréal 1999 (2000)

While VOX has long been associated with the socially grounded photographic work of documentary, they have adopted for this occasion a more inclusive sense of documentary’s mis­ sion and its means. Instead of just the prosaic tone of “straight” photography, we have more lyricism, fiction, uncer­tainty, speculation and aestheticism.

Bill C-54 (1988)

There are many reasons why the Canadian Govern­ment’s proposed anti-pornography legislation, as tabled in Bill C-54, will make for bad law. In attempting to do too much at once, and to satisfy simultaneously too many constituencies, the government is creating for itself new powers in the control of discourse which are not only potentially abusive, but even as presently composed and intended contain reprehensible notions of state authority.

Contemporary Canadian Photography (1986)

As is now well known, when the Canadian government originally announced its intention to abandon and effectively destroy the activities and collection of the Stills divi­sion of the National Film Board, the ensuing protest of the photographic community was sufficient to cause the authorities to reconsider.

Aurora Borealis: Meliorist Underground (1985)

As has been said of the pyramids, that their construction is as much a monument to Egyp­tian administration as a triumph of ancient engineering, so does this show present both visual delight and a model of organizational innovation.

Reflections: Contemporary Art Since 1964 at the National Gallery of Canada (1984)

The exhibition of collections differs from other ex­hibitions in that rather than being organized by unities of origin — individuals, schools, periods, nations, etc. — a collection forms a group of works defined by their destination : the location of their arrival and reception. Collections of contemporary art differ, again, from those of past art by reason of the coextensivity of cre­ation and receipt.

Sorel Cohen (1983)

The development of artists often re­sembles the motion of nautical tacking: establishing direction, reversing, adjusting, correcting, repeating paths and avoiding dangers. In such ways artists chart courses which come to represent their unique concerns, in­vestigations and discoveries within the regions they navigate.