Natasha Chaykowski lives and works in Montreal. She has organized numerous exhibitions, discursive programs and arts-based events. Chaykowski held a curatorial assistant position at Art Gallery of Ontario, co-curated the annual Emerging Artist Exhibition at InterAccess in Toronto with Nancy Webb and is the co-recipient of the 2014 Middlebrook Prize for Young Canadian Curators. She was Editorial Assistant for the Journal of Curatorial Studies and the Editorial Resident at Canadian Art magazine in 2014. Her writing has been published in Carbon Paper, the Art Gallery of York University, esse: arts + opinions, Canadian Art, Gallery 44, and the Journal of Curatorial Studies.
Industry Expertise (3)
Areas of Expertise (5)
Middlebrook Prize for Young Canadian Curators (professional)
Awarded for the exhibition I'm Feeling Lucky
Canadian Art Editorial Residency (professional)
This residency is a national prize awarded annually to a current undergraduate, graduate or other post-secondary student with an interest in developing expertise in the realm of professional art-magazine publishing.
Young Critics Competition (professional)
Awarded by esse arts + opinions.
Good Ideas award (professional)
Awarded by the University of Ottawa.
University of Ottawa: B.A., Art History 2011
York University : M.A., Art History 2014
Too hard to KeepDrain Magazine
Studio-style portraits with a patina and palette that shines of decades past; ill-framed candid group photos; and unfocussed 4 x 6 snapshots of unremarkable landscapes, dreary skyscapes and abstract seascapes. This is some of the banal and ordinary photographic matter that comprises Jason Lazarus’s ongoing archival project, Too Hard To Keep (T.H.T.K.), currently on view at Gallery TPW in Toronto...
Review: “One, and Two, and More than Two” and the Exhibition as Extrovert by Natasha ChaykowskiArtcore Journal
‘One,’ and ‘two,’ and ‘more than two’ render three categories that neatly organize a prodigious quantity of art into an ordered system of classification. This exercise in categorizing is reflective of Toronto-based artist Micah Lexier’s sustained engagement with systems of classification, ordering, and the fissures that habitually riddle and destabilize such categorical methods. The survey exhibition of his work, One, and Two, and More Than Two (Let It Make Itself), at The Power Plant in Toronto (Sept. 21, 2013–Jan. 5, 2014), displayed a convergent assortment of solo projects (One), works made through collaboration (Two), and an exhibition of over 220 works by more than 100 Toronto-based artists, curated by Lexier (More Than Two). While One and Two are both compelling exhibitions autonomously, More T...