From famous figures and works to contemporary pieces and their implications, read up on the engaging essays from some of Yiara’s contributors.
L’exposition L’Archiviste se présente, à première vue, comme un véritable collage à même les murs du musée McCord, où se côtoient objets et images tirés de la collection du musée et de la collection personnelle de l’artiste. Mais il en est bien plus, Celia Perrin Sidarous y met efficacement en relation l’Histoire et les histoires, l’historique et l’anodin.
Les mouvements de néo-paganisme deviennent de plus en plus populaires. Nina Molto explore leurs liens au féminisme.
Il est dans l’air du temps de s’imaginer la fin du monde ; celle-ci, presque tangible lorsqu’on parcourt les titres d’actualité, nous renvoie à notre fragilité, et résonne dans notre imaginaire comme le reflet tordu de notre réalité intérieure.
Candy Darling is almost always spoken about in relation to well-known male artists. Sarah Hollyer-Carney explores her legacy and relationship with Andy Warhol.
What challenges did Gros-Louis face as a Huron-Wendat artist practicing in Quebec? How did the socio-cultural context in which she created art influence her craft? When did her work come to be considered as “art” by the white community?
L’Amant, écrit par Marguerite Duras, décrit la vie d’une adolescente française dont la famille s’est expatriée au Vietnam. Lisez la critique de Nina Molto.
Queerness, like many other art historical theories, can be understood, practiced, and applied in many different ways. But what are the ramifications of misconstruing the notion of queerness, both where representation and art historical studies are concerned?
Sylvia Plath, in both her life and death, is the object of fascination. Ennie Skurzak explores Plath’s legacy.
Contemporary Western art has recently become synonymous with self-expression and liberation. In this interview with Malak El Mahmoudy, our contributor Yaasrah Ahmed explores the perspective of viewing the pursuit of art as a privilege, rather than as a right. What forces artists to put their art on hold? And in what case does the pursuit of art put an artist’s liberation at risk?
Emily Draicchio’s essay argues that Ukeles complicates the common understanding of conceptual art as a rejection of the “emotional/intuitive process of art-making” by injecting her performances with the personal, and of “dematerialization” for using her body.
Who decides who owns your body? In 2019, the answer is still unclear.
Emily Draicchio analyzes Ana Mendieta’s “Silueta” series.
Taylor Neal explores Saint Orlan’s performance art.
Olivia Deresti-Robinson on Alice Neel.
Aimée Tian on @PrincessNokia’s subversive selfies.
