A mother screams as her baby is wrenched from her arms; a sex fest featuring Canada's founding fathers and various forest animals; and Miss Chief – a powerful, sexy, transgender indigenous figure in traditional attire, beads, and feathers. Liora Belford visits "Shame and Prejudice: A Story of Resilience," the travelling exhibition of the work of artist Kent Monkman, who wonders where are the painters who have documented the hunger, the poverty, the pain, and the annihilation of a whole culture.
In anticipation of "Hēliotropion," Tamar Getter's exhibition recently on display at the Mishkan Museum of Art, Ein Harod, H.S.L.R. talked with her about horses and other matters that preoccupy her in her work: painting stoppages, idealization, and painting as a "machine," immobile.
As the art schools' graduation exhibition season is winding down, Tali Tamir revisits the work of two veteran artists – Dov Or-Ner and Dov Heller – and wonders why the radicalism that has bound the avant-garde to social values, crossed various lines, and melted away conceptual and geographical borders found no place in the major museums.
As part of a new joint initiative of Kadist and Tohu Magazine to publish video interviews, Elinor Salomon talks with Elham Rokni about reconstruction and memory, biography and history, Orientalism and men with a Middle Eastern appearance.
Contemporary painting as the wreckage pile of Modernism or genuine Modernist painting? Focusing on composition or the subjects? Hagai Ulrich writes for Tohu on "Take Painting," showing at the Petach Tikva Museum of Art.
A painter who has internalized the Western Orientalist gaze, a minor artist given recognition as lip service to the British Indian community, or one who offers a sharp, complex, subversive outlook on identity, society, and sexuality? Bar Yerushalmi writes for Tohu about Indian-born painter Bhupen Khakhar's retrospective at the Tate Modern.