This survey of Portuguese popular art is visually engaging and culturally enriching.
Although the physical resemblance between the two places may not be that great, Girard has been able to tease out some parallels.
Angela Grossmann’s recent works continue her creative practice of improvising new imagery out of found photographs.
Humour, compassion, and social criticism braid together in Henri Robideau’s engaging photo-narratives.
Giving a new twist on the landscape photo, Colin Smith plays with camera obscura in a trailer while Christos Dikeakos explores orchards in decline.
Morrison’s new series of colour photographs is based on appropriated images of “nature” from a big, fat September issue of Vogue magazine.
Both artists work realistically and with great dexterity in the difficult medium of watercolour, and both use their art to examine our relationship with the natural world.
Although the events we witnessed were not a potlatch, they hinted at what it would be like to attend one.
Although best known as an avant-garde poet, Ginsberg was also a composer, a social and political activist, a practitioner of Tibetan Buddhism, a benefactor of friends and colleagues, and a dedicated taker of pictures.
What is especially significant about Cézanne and the Modern is the consolidating vision of Henry Pearlman, the New Yorker who put the collection together.