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Maple Tree Literary Supplement
issue 23 presents a revision of contemporary art by MIKLOS LEGRADY

Miklos legrady 27" x 38" - 68.58cm x 96.52cm, Aylan Kurdi, acrylic on cardboard. October 05, 2015

Canadian Postmodern, a Cognitive Dissonance.
Like salt in your coffee, the #wetoo of art criticism

Gossip at the National Gallery of Canada and AGO. Geoffrey Farmer’s Leaves of Grass. Luis Jacob at TPW. Destabilizing our conventions, is that a good idea? Phillip Monk on French Theory. Kitty Scott on Trash Art. Can we trust Joseph Beuys? Titillating misconduct in the academic-curatorial complex. YYZ courts controversy. Charles Demarais at SFAI. Duchamp said the Readymade isn’t art! Contemporary Calgary gasping for words. Who gets our tax dollars? Art Lemmings? The canary in the mine is coughing, tipping over! Get your art news red hot!

Art news so red hot it shall this day light such a candle as I trust shall never be put out.

Maple Tree Literary Supplement (MTLS) is a cutting-edge 21st century triannual online journal. MTLS promotes Canadian writing and allied Canadian arts – and occasional scholarship – with emphasis on culturally diverse contribution.

Award-winning essayist and novelist, John Ralston Saul, Advisory Board,
Poet Laureate of Canada, George Elliott Clarke, Reviews & Contributing Editor,
Scholar-poet, Dr. Amatoritsero Ede, Publisher & Managing Editor.
President Emeritus of Carleton University, David W. Atkinson, Advisory Board,

The New Art Examiner presents a correction of art history by MIKLOS LEGRADY

33" x 40" - 83.82cm x 101.6cm, acrylic on cardboard, January 21, 2016.

Corrupting Canadian Art: Geoffrey Farmer in Venice, 2017.

André Breton wrote of the Readymade in the Surrealist Dictionary; “an ordinary object elevated to the dignity of a work of art by the mere choice of an artist”. Today, in large numbers of peer-reviewed trials, the artist’s choice has consistently failed to elevate common objects to the dignity of a work of art.

The New Art Examiner, an independent magazine of art and cultural criticism, was founded in Chicago in 1973. The magazine is not only a significant part of the history of art and criticism in Chicago, it made important contributions to the larger history of art and cultural criticism in the United States by promising—and delivering—an often sharp-edged critique.

Legrady Visual Blog: Théorie de l'art sur Facebook

Miklos Legrady, 35" x 51" - 88.9cm x 139.54cm, acrylic on cardboard, December 28, 2015.

As you expected, my ideas disturb postmodernism... so I was marginalized and funding dried up. When I could no longer afford to paint on canvas I turned to cardboard. A perfect illustration of how going with the flow can intuitively locate you smack in the center of the cultural dialogue without any conscious effort on your part. Keith Haring or Basquiat come to mind. I came out of the art closet when I was broke and Eirinn said I should be grateful... not to be like Emily Carr, poor thing only had cardboard to paint on. That was my Eureka moment! Cardboard; the bike stores toss out a plentiful supply of shipping boxes. Instant street credibility and art statement, a social background to which an artist can add their two bits.

A new voice in art criticism, Miklos Legrady is a visual artist, scholar, anti-hero and protagonist who’s expecting trouble. He steps out of the art world’s blind spot, deconstructing myths and fictions. Emerging as a hybrid between ad buster and poli-sci commentator, Legrady moves through a world of political, social, and cultural intrigue, trends, and events; like the Energizer Bunny, Legrady just keeps on going and going.

Legrady is the Toronto Editor of Chicago’s New Art Examiner






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