Art Mûr

Born in 1980 in Sainte-Émelie de l’Énergie, Karine Giboulo lives and works in Montreal. Since early 2000, she has been creating work in a variety of media from paintings and works on...

Born in 1980 in Sainte-Émelie de l’Énergie, Karine Giboulo lives and works in Montreal. Since early 2000, she has been creating work in a variety of media from paintings and works on...

Born in 1980 in Sainte-Émelie de l’Énergie, Karine Giboulo lives and works in Montreal. Since early 2000, she has been creating work in a variety of media from paintings and works on...

Born in 1980 in Sainte-Émelie de l’Énergie, Karine Giboulo lives and works in Montreal. Since early 2000, she has been creating work in a variety of media from paintings and works on...

Born in 1980 in Sainte-Émelie de l’Énergie, Karine Giboulo lives and works in Montreal. Since early 2000, she has been creating work in a variety of media from paintings and works on...

Brandon Vickerd is a Hamilton based artist and Professor of Sculpture at York University, where he also serves as Chair of the Department of Visual Arts and Art History. He received ...

Brandon Vickerd is a Hamilton based artist and Professor of Sculpture at York University, where he also serves as Chair of the Department of Visual Arts and Art History. He received ...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Boundaries don't exist in nature, you have to invent them so that you can have things. The subject matter of these paintings is the boundary, in a state of having traversed a surface...

Cécilia Bracmort is a French/Canadian artist and curator with Caribbean origins (Martinique and Guadeloupe) living in Montreal. Her artistic and curatorial practice focuses on the no...

Cécilia Bracmort is a French/Canadian artist and curator with Caribbean origins (Martinique and Guadeloupe) living in Montreal. Her artistic and curatorial practice focuses on the no...

Cécilia Bracmort is a French/Canadian artist and curator with Caribbean origins (Martinique and Guadeloupe) living in Montreal. Her artistic and curatorial practice focuses on the no...

Cécilia Bracmort is a French/Canadian artist and curator with Caribbean origins (Martinique and Guadeloupe) living in Montreal. Her artistic and curatorial practice focuses on the no...

Place des Arts in Montreal is pleased to present Arnait by Karine Giboulo in its exhibition hall, a space for citizen reflection open to all. Central to her process is a friendship d...

Ianick Raymond approach painting as an experience that helps him understand how a painting is viewed, how the eye scans the canvas. Driven by a desire to tinker with visual reflexes,...

Ianick Raymond approach painting as an experience that helps him understand how a painting is viewed, how the eye scans the canvas. Driven by a desire to tinker with visual reflexes,...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

Digital printing on Tyvek Lucas Aguirre is a painter who has transitioned his art practice into the realm of VR and digital art. His paintings and drawi...

Nicholas Crombach (BFA, 2012) is an artist working in Kingston Ontario. Crombach has been awarded the Elizabeth Greenshields Foundation Award. His solo exhibition, Behind Elegantly Carved Wooden Doors, was presented at Art Mûr...

Nicholas Crombach (BFA, 2012) is an artist working in Kingston Ontario. Crombach has been awarded the Elizabeth Greenshields Foundation Award. His solo exhibition, Behind Elegantly Carved Wooden Doors, was presented at Art Mûr...

Jessica Houston has traveled from pole to pole—using photography, painting, oral histories and objects—to evoke natureculture entanglements. Her multimedia projects often include sit...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

22-piece acrylic assemblage (no glue) Material: 1/4 in transparent blue acrylic The works of David Umemoto stand as studies about volume. At the juncture of sculpture and architectu...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

Colleen Wolstenholme’s work has the ability to engage and provoke viewers by piquing the social conscious. She’s a prolific artist with of an impressive oeuvre of intriguing art work...

Colleen Wolstenholme’s work has the ability to engage and provoke viewers by piquing the social conscious. She’s a prolific artist with of an impressive oeuvre of intriguing art work...

Text by Jack David Zipes An American retired Professor of German at the University of Minnesota who has published and lectured on the subject of fairy tales, their evolution, and t...

Text by Jack David Zipes An American retired Professor of German at the University of Minnesota who has published and lectured on the subject of fairy tales, their evolution, and their social and political role in civilizing processes. According to Zipes, fairy tales “serve a meaningful social function, not just for compensation but for revelation: the worlds projected by the best of our fairy tales reveal the gaps between truth and falsehood in our immediate society.” His arguments are avowedly based on the critical theory of the Frankfurt School and more recently theories of cultural evolution. When feminists began -re-writing fairy tales in the 1960s and 1970s, one of their major purposes was to demonstrate that nobody really lives happily ever after, whether in fantasy or reality, and one of the important political assumptions was that nobody will ever live happily ever after unless we change not only fairy-tale writing but social and economic conditions that further exploitative and oppressive relations among the sexes, races, and social classes. This general purpose is still at the root of the best and most serious writing of fairy tales by women, and in recent years, some of the best women painters, artists, photographers, and filmmakers in North America have created unique works that question traditional representations of gender, marriage, work, and social roles. In order to explain why nobody lives happily ever after, neither in fairy tales nor in real life, and why nobody should invest their time and energy believing in a “happily ever after” realm, I would like to make a few comments about Dina Goldstein’s provocative photographs that pierce the myth of happiness. This is not to say that we cannot be happy in our lives. Rather, I should like to suggest that the fairy-tale notion about happiness must be radically turned on its head if we are to glimpse the myths of happiness perpetuated by the canonical fairy tales and culture industry and to determine what happiness means. Anyone who has seen Dina Goldstein’s unusual photographs knows that she not only deflowers fairy tales with her tantalizing images, but she also “de-disneyfies” them. Goldstein came to Canada from Israel when she was eight-years-old and had very little experience with the world of Disney films, books, artifacts, and advertisements. It was not until she was much older, when her three-year-old daughter was exposed to the Disney princesses, and when her mother was diagnosed with breast cancer that she began to reflect about the impact of the Disneyfied fairy tales. As she has said in an interview with the Vancouver Sun, “I began to imagine Disney’s perfect princesses juxtaposed with real issues that were affecting women around me, such as illness, cancer, addiction and self-image issues. . . . Disney princesses didn’t have to deal with these issues, and besides we really never followed their life past their youth.” Goldstein’s photo series, “Fallen Princesses,” first appeared on the Internet in the summer of 2009, and they have received global attention as artworks that comment critically on the Disney world and raise many questions about the lives women are expected to lead and the actual lives that they lead. Her photos are not optimistic. Rather, they are subtle, comic, and grotesque images that undo classical fairy-tale narratives and expose some of the negative results that are rarely discussed in public. For instance, in her macabre portrayal of Snow White, she depicts the gruesome fate of a young woman, who is the spitting image...

Text by Jack David Zipes An American retired Professor of German at the University of Minnesota who has published and lectured on the subject of fairy tales, their evolution, and their social and political role in civilizing processes. According to Zipes, fairy tales “serve a meaningful social function, not just for compensation but for revelation: the worlds projected by the best of our fairy tales reveal the gaps between truth and falsehood in our immediate society.” His arguments are avowedly based on the critical theory of the Frankfurt School and more recently theories of cultural evolution. When feminists began -re-writing fairy tales in the 1960s and 1970s, one of their major purposes was to demonstrate that nobody really lives happily ever after, whether in fantasy or reality, and one of the important political assumptions was that nobody will ever live happily ever after unless we change not only fairy-tale writing but social and economic conditions that further exploitative and oppressive relations among the sexes, races, and social classes. This general purpose is still at the root of the best and most serious writing of fairy tales by women, and in recent years, some of the best women painters, artists, photographers, and filmmakers in North America have created unique works that question traditional representations of gender, marriage, work, and social roles. In order to explain why nobody lives happily ever after, neither in fairy tales nor in real life, and why nobody should invest their time and energy believing in a “happily ever after” realm, I would like to make a few comments about Dina Goldstein’s provocative photographs that pierce the myth of happiness. This is not to say that we cannot be happy in our lives. Rather, I should like to suggest that the fairy-tale notion about happiness must be radically turned on its head if we are to glimpse the myths of happiness perpetuated by the canonical fairy tales and culture industry and to determine what happiness means. Anyone who has seen Dina Goldstein’s unusual photographs knows that she not only deflowers fairy tales with her tantalizing images, but she also “de-disneyfies” them. Goldstein came to Canada from Israel when she was eight-years-old and had very little experience with the world of Disney films, books, artifacts, and advertisements. It was not until she was much older, when her three-year-old daughter was exposed to the Disney princesses, and when her mother was diagnosed with breast cancer that she began to reflect about the impact of the Disneyfied fairy tales. As she has said in an interview with the Vancouver Sun, “I began to imagine Disney’s perfect princesses juxtaposed with real issues that were affecting women around me, such as illness, cancer, addiction and self-image issues. . . . Disney princesses didn’t have to deal with these issues, and besides we really never followed their life past their youth.” Goldstein’s photo series, “Fallen Princesses,” first appeared on the Internet in the summer of 2009, and they have received global attention as artworks that comment critically on the Disney world and raise many questions about the lives women are expected to lead and the actual lives that they lead. Her photos are not optimistic. Rather, they are subtle, comic, and grotesque images that undo classical fairy-tale narratives and expose some of the negative results that are rarely discussed in public. For instance, in her macabre portrayal of Snow White, she depicts the gruesome fate of a young woman, who is the spitting image...

Text by Jack David Zipes An American retired Professor of German at the University of Minnesota who has published and lectured on the subject of fairy tales, their evolution, and their social and political role in civilizing processes. According to Zipes, fairy tales “serve a meaningful social function, not just for compensation but for revelation: the worlds projected by the best of our fairy tales reveal the gaps between truth and falsehood in our immediate society.” His arguments are avowedly based on the critical theory of the Frankfurt School and more recently theories of cultural evolution. When feminists began -re-writing fairy tales in the 1960s and 1970s, one of their major purposes was to demonstrate that nobody really lives happily ever after, whether in fantasy or reality, and one of the important political assumptions was that nobody will ever live happily ever after unless we change not only fairy-tale writing but social and economic conditions that further exploitative and oppressive relations among the sexes, races, and social classes. This general purpose is still at the root of the best and most serious writing of fairy tales by women, and in recent years, some of the best women painters, artists, photographers, and filmmakers in North America have created unique works that question traditional representations of gender, marriage, work, and social roles. In order to explain why nobody lives happily ever after, neither in fairy tales nor in real life, and why nobody should invest their time and energy believing in a “happily ever after” realm, I would like to make a few comments about Dina Goldstein’s provocative photographs that pierce the myth of happiness. This is not to say that we cannot be happy in our lives. Rather, I should like to suggest that the fairy-tale notion about happiness must be radically turned on its head if we are to glimpse the myths of happiness perpetuated by the canonical fairy tales and culture industry and to determine what happiness means. Anyone who has seen Dina Goldstein’s unusual photographs knows that she not only deflowers fairy tales with her tantalizing images, but she also “de-disneyfies” them. Goldstein came to Canada from Israel when she was eight-years-old and had very little experience with the world of Disney films, books, artifacts, and advertisements. It was not until she was much older, when her three-year-old daughter was exposed to the Disney princesses, and when her mother was diagnosed with breast cancer that she began to reflect about the impact of the Disneyfied fairy tales. As she has said in an interview with the Vancouver Sun, “I began to imagine Disney’s perfect princesses juxtaposed with real issues that were affecting women around me, such as illness, cancer, addiction and self-image issues. . . . Disney princesses didn’t have to deal with these issues, and besides we really never followed their life past their youth.” Goldstein’s photo series, “Fallen Princesses,” first appeared on the Internet in the summer of 2009, and they have received global attention as artworks that comment critically on the Disney world and raise many questions about the lives women are expected to lead and the actual lives that they lead. Her photos are not optimistic. Rather, they are subtle, comic, and grotesque images that undo classical fairy-tale narratives and expose some of the negative results that are rarely discussed in public. For instance, in her macabre portrayal of Snow White, she depicts the gruesome fate of a young woman, who is the spitting image...

Text by Jack David Zipes An American retired Professor of German at the University of Minnesota who has published and lectured on the subject of fairy tales, their evolution, and their social and political role in civilizing processes. According to Zipes, fairy tales “serve a meaningful social function, not just for compensation but for revelation: the worlds projected by the best of our fairy tales reveal the gaps between truth and falsehood in our immediate society.” His arguments are avowedly based on the critical theory of the Frankfurt School and more recently theories of cultural evolution. When feminists began -re-writing fairy tales in the 1960s and 1970s, one of their major purposes was to demonstrate that nobody really lives happily ever after, whether in fantasy or reality, and one of the important political assumptions was that nobody will ever live happily ever after unless we change not only fairy-tale writing but social and economic conditions that further exploitative and oppressive relations among the sexes, races, and social classes. This general purpose is still at the root of the best and most serious writing of fairy tales by women, and in recent years, some of the best women painters, artists, photographers, and filmmakers in North America have created unique works that question traditional representations of gender, marriage, work, and social roles. In order to explain why nobody lives happily ever after, neither in fairy tales nor in real life, and why nobody should invest their time and energy believing in a “happily ever after” realm, I would like to make a few comments about Dina Goldstein’s provocative photographs that pierce the myth of happiness. This is not to say that we cannot be happy in our lives. Rather, I should like to suggest that the fairy-tale notion about happiness must be radically turned on its head if we are to glimpse the myths of happiness perpetuated by the canonical fairy tales and culture industry and to determine what happiness means. Anyone who has seen Dina Goldstein’s unusual photographs knows that she not only deflowers fairy tales with her tantalizing images, but she also “de-disneyfies” them. Goldstein came to Canada from Israel when she was eight-years-old and had very little experience with the world of Disney films, books, artifacts, and advertisements. It was not until she was much older, when her three-year-old daughter was exposed to the Disney princesses, and when her mother was diagnosed with breast cancer that she began to reflect about the impact of the Disneyfied fairy tales. As she has said in an interview with the Vancouver Sun, “I began to imagine Disney’s perfect princesses juxtaposed with real issues that were affecting women around me, such as illness, cancer, addiction and self-image issues. . . . Disney princesses didn’t have to deal with these issues, and besides we really never followed their life past their youth.” Goldstein’s photo series, “Fallen Princesses,” first appeared on the Internet in the summer of 2009, and they have received global attention as artworks that comment critically on the Disney world and raise many questions about the lives women are expected to lead and the actual lives that they lead. Her photos are not optimistic. Rather, they are subtle, comic, and grotesque images that undo classical fairy-tale narratives and expose some of the negative results that are rarely discussed in public. For instance, in her macabre portrayal of Snow White, she depicts the gruesome fate of a young woman, who is the spitting image...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

Jessica Houston has traveled from pole to pole—using photography, painting, oral histories and objects—to evoke natureculture entanglements. Her multimedia projects often include sit...

Jessica Houston has traveled from pole to pole—using photography, painting, oral histories and objects—to evoke natureculture entanglements. Her multimedia projects often include sit...

My works are part of a reflection at the crossroads of the scientific laboratory, the curiosity cabinet and the museum of natural history. It is from the transformation potential of ...

Sorenson consistently disrupts institutional expectations of the visual artist as a producer of proprietary images. His work exposes the contradictions between limited copyright and ...

Following his first post-secondary degree in Fine Arts in 1994, he trained as a cabinet-maker and completed an apprenticeship in antique restoration. He was co-founder of a successfu...

Eddy Firmin takes a particular interest in the politics of knowledge sharing and the epistemic conflicts that they create for the colonized artist. He strives to remediate the codes ...