Divya Mehra offers a complex view of race and identity that supplants the myth of a monolithic Other.
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Artist Discovers a Looted Statue in a Canadian Museum’s Collection, Leading to Its Repatriation
After Divya Mehra uncovered the colonial history behind a misidentified 18th-century statue, the Mackenzie Art Gallery repatriated it and acquired Mehra’s work about the figure in its stead.
Posted inArt
Your Concise Los Angeles Art Guide for February 2021
Your list of must-see, fun, insightful, and very Los Angeles art events this month.
Posted inArt
Making Art from a City’s Isolation
At Winnipeg’s Plug In Institute of Contemporary Art, art acts as a kind of magnifying glass, exposing the city’s unconventional and, at times, undesirable aspects.
Posted inArt
The Many Shades and Meanings of the Color Blue
An exhibition meditates on blue’s various connotations and how it manifests in politics.
Posted inArt
Divya Mehra’s Tragicomedy of Failure
Divya Mehra and I met briefly, almost in passing at the Banff Centre in Alberta, Canada a couple years back. In what seemed moments we were arguing about the role artists have in society, and the problems and difficulties of institutional support. This quickly led to a deep respect for Divya and her work.
Posted inArt
Canada, the Country that Dare Not Speak Its Name
NORTH ADAMS, Massachusetts — Framed on the faux-log-cabin wall of Kent Monkman’s piece “Two Kindred Spirits” (which depicts the American western characters of Tonto and the Lone Ranger as lovers in a sort of Horatio/Hamlet life-sized diorama death scene) is a hand-embroidered phrase: “The Love That Dare Not Speak Its Name.” This Oscar Wildean quotation also encapsulates the ever-nuanced Canada/U.S. relationship, and may give us a clue as to what’s really up with our neighbor to the north.
