Seeing the Toronto Biennial of Art through my daughter’s eyes helped me push past some of its challenges by experiencing it on a primordial level.
Inspired by the multilayered histories of the city’s waterways, the biennial’s curatorial team has amassed an exciting array of contemporary Canadian and international artists, with a focus on Indigenous artists.
Lauren Fournier considers what it means, in the bell hooks sense, to bring everyday life to theory.
The London-based moving image artist considers the costs of youthful assimilation.
The Lambda Literary Award Finalist and Cyberfeminism Index designer discuss the need to “troll these progress stories that we tell about computers.”
As more artists and arts organizations join the platform initially populated by gamers, they have capitalized on Discord’s potential for creation and play.
Postscript exudes a rare ease of accessibility, permitting viewers to linger and acknowledge the nuances of grief.
In the past year, this small Canadian arts organization organized a COVID-19 mutual aid initiative for independent Indigenous curators, and is challenging its institutional partners to step up.
As NFT artwork becomes increasingly popular, artists are figuring out how to utilize the medium to carve out a new model of equity for digital artists and creators.
On the benefits of an auto-email responder, access riders, and, most importantly, moving more slowly.
Through hashtags and others forms of social content, the K-pop idol group creates an open, interpretative framework for the back-and-forth exchanges of visual content and meanings between BTS and its fandom, called ARMY.
Eight artists, curators (and yes, even a meme account) weigh in on the benefits of screen-sharing, PDFs, and even personalized Zoom backgrounds