Indigenous artists’ take on the Canada of 2167 accompanied by cheerier exhibitions.
Forty years ago, the McMichael gallery gave Alex Janvier and his cohorts their first museum show. He’s back, at 82, to complete the circle.
British-born Julian Cox has been named the AGO’s chief curator after a yearlong vacancy.
Migrating the Margins challenges the ruling ethic of art as a downtown thing.
Show in Power Plant’s big gallery overshadowed by more relevant and pointed offerings nearby.
Researcher Ann Marks released her book “Vivian Maier Developed: The Real Story of the Photographer Nanny” last week.
Andrew Hunter expressed concern about gallery's commitment to new and marginalized voices, but AGO director Stephan Jost defended the institution on Wednesday.
The AGO’s recently departed Canadian-art curator says that museums’ legacy of colonialism must be disavowed.
At Home With Monsters shows director’s dark passions, but it’s not immediately clear what it’s doing in a museum. Talk to him, though, and you see his intelligence takes him well beyond fanboy status.
The annual all-night art festival eschews spectacle this Saturday in favour of politics up-to-date with trying times.
Toronto’s 401 Richmond and other hubs of arts and culture can expect a reprieve from soaring property taxes, but for some it comes too late.
The Faraway Nearby a revealing window into how Americans saw their northern neighbour back in the day.
Indigenous creations, hoarded for years by the federal government, get an audience at last.
Controversial in its time, Will Alsop’s playful OCADきゃど University building helped the city grow up and kicked off its architectural boom.
The Toronto-born architect’s Art Gallery of Ontario renovation was restrained, which made for a better outcome.
Performance space at Royal Conservatory’s historic headquarters still wins rave for esthetics and acoustics.
Since making the move to the Four Seasons Centre for the Performing Arts in 2006, Toronto's ballet and opera companies have never looked back.
A decade later, Daniel Libeskind’s reinvention of the ROM still inspires curiosity, debate.
‘Irreverent reverence’ is the key to great adaptations, writes Ravi Jain, who dared to revise Hamlet, The Cherry Orchard and David French’s Salt-Water Moon.
