This Land

Stephen Bulger Gallery
Toronto, ON
May 4 to June 15, 2019

“Stephen Bulger Gallery is pleased to present “This Land”, our fifth solo exhibition of work by Canadian artist Sarah Anne Johnson.

In “This Land”, Johnson focuses on landscape scenes from a variety of places that depict natural beauty and wonder in a multitude of guises. Not limiting herself to a specific location or clear narrative, Johnson continues to bridge the gap between the psychology of place and the dividing line between what is real and what is felt – a quality that remains a theme in all of her projects.”

For a full press release, click here.

Everything Is Connected: Art and Conspiracy

Metropolitan Museum of Art
New York, NY
September 18, 2018 – January 6, 2019

“For the last fifty years, artists have explored the hidden operations of power and the symbiotic suspicion between the government and its citizens that haunts Western democracies. Everything Is Connected: Art and Conspiracy will be the first major exhibition to tackle this perennially provocative topic. It will trace the simultaneous development of two kinds of art about conspiracy.

The first half of the exhibition will comprise works by artists who hew strictly to the public record, uncovering hidden webs of deceit—from the shell corporations of a New York slumlord to vast, interconnected networks encompassing politicians, businessmen, and arms dealers. In the second part, other artists will dive headlong into the fever dreams of the disaffected, creating fantastical works that nevertheless uncover uncomfortable truths in an age of information overload and weakened trust in institutions.”

For a full press release, click here.

#MetArtandConspiracy

Conspiracy, Discounted Histories, and Nostalgia at the Met Breuer

Momus
By Tausif Noor
December 17, 2018

“Thickening the air with its pollutive force, conspiracy became a national pastime in late 1960s and 1970s America, particularly surrounding the assassination of JFK and the Watergate scandal. Mistrust of government officials, the ongoing war in Vietnam, the fight for civil rights, and the spread of counterculture had fractured the notion of a unitary national identity; conspiracy allowed the American public to find common ground. Jim Shaw’s UFO Photo series and Martian Portraits(both 1978) recall the fervent spread in the belief of extraterrestrial life in the ‘70s. These cryptic photographs, with their sepia and gray washes, evoke a double nostalgia: the one felt by viewers in 1978, and another that is so apparent now, forty years later. Sarah Anne Johnson’s graphite and acrylic interventions on family photographs, Lysergic Acid Diethylamide and Black Cloud (2008), refer to the CIA-backed MK-ULTRA experimental mind-control programs billed as psychiatric treatment, that were conducted at Montreal’s Allen Memorial Institute. Project MK-ULTRA was investigated by joint Senate hearings in 1977 and widely reported by media outlets. While these facts are acknowledged in the wall labels, the decision to place Johnson’s pieces in the second half of the exhibition alongside Shaw’s UFO photos raises questions about which histories are remembered, and which are routinely dismissed.”

For the full article, click here.