Camille Rouzaud’s photographs are visceral, rough, intimate, and voyeuristic. Her vision tends to focus on the exuberance of youth, though it is tempered by a kind of remote detachment, articulated in high-contrast color and what often looks like digital grain. Rouzaud’s work is like a…
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PUBLISHED IN ISSUE 15 Firenze Lai’s work looks like what idiots call fin de siècle, which means 100 years old, from when art thought that it could accomplish important things, which we now know is not true, but nonetheless a quaint thought. Actually, that’s not…
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PHOTOS BY RICHMOND LAM When my mom woke me up on September 11th, 2001, and told me that the World Trade Center had been attacked, I thought she was talking about the floor of the New York Stock Exchange; that place you used to see…
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The proliferation of photography via technology anticipates a world in which everything is documented. Put another way: everything is waiting to be photographed. Until something is rendered through and upon the medium of photography it arguably doesn’t exist, since the photograph is an essential standard…
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PUBLISHED IN ISSUE 14 Foodman Cover I appreciate the work of Keith Rankin (and by association the music from Orange Milk music) for the obvious ability it indicates, but also for its engagement with current trends: matte surfaces; squiggles; goop; iPods; featureless silhouettes; greco-roman architecture.…
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Because we are a Canadian-run publication and we admire those who continue to work with the arguably dated medium of paint, in the arguably dismal landscape of the Canadian art-world, we have decided to do a week-long feature on some of our favorite current Canadian…
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PUBLISHED IN ISSUE 13 RUNNING ERRANDS WITH THE MILD HIGH CLUB Alex Brettin, the visionary behind The Mild High Club (Stones Throw Records), recently upped his game in a big way with the purchase of a 2004 Honda Odyssey. He used to drive a Ford Transit…
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