Selected Reviews & Interviews
“Margaux Williamson” by Marc Mayer
Ekphrasis, Montreal 2023
“This is a quietly subversive show and I loved being in it.”
“The place between me and a friend, the place between me and a painting” by Meeka Walsh, Interview by Robert Enright
Border Crossings Winnipeg 2023
Issue 167 “Painting”
“Margaux Williamson’s unruly works from home” interview with Esmé Hogeveen
Art Forum, New York 2022
“Margaux Williamson in the Studio” text and interview with Elliat Albrecht
Ocula, Hong Kong 2022
“Margaux Williamson at the Thunder Bay Art Gallery” by Tyler Muzzin
Akimbo, Toronto 2022
“Writing about painting through the lens of time seems like a readymade critical methodology that could be applied to almost anything. What’s worth addressing, though, is why an artist with an adept facility for filmmaking, performance, and ephemera would use static media to tackle the most quotidian, yet most elusive subject of all.”
“The homes of others: Margaux Williamson’s brilliantly disordered ‘Interiors’ at McMichael are a rare glimpse into people’s inner lives” by Ruth Jones
Toronto Star, April 3 2022
“You can stand between a painting of a pine tree and one of a storm and feel for a moment suspended, like the waves of both are holding you up, alive in the world and alive inside, moving through all your own interiors in a way that leaves a wake.”
“The Comfort of Strangers” by Max Henry
Spike Art Magazine, March 2021, Berlin
“Margaux Williamson & Sheila Heti” Interview for “Interiors” Catalogue
McMichael Canadian Art Collection, Toronto 2021
“Margaux Williamson’s Hard-Earned Magic” by Ben Lerner
Frieze Magazine, London
Issue 213, September 2020
“There is a certain kind of genius that doesn’t ask you to congratulate it for the tortuousness of its process, that communicates its vision openly, that shares its code.”
“How One Painter Captures the Wonder of Ordinary Spaces; Margaux Williamson’s portraits of interiors pay homage to what’s right in front of us,” by Sophie Weiler
Walrus Magazine, Toronto, June 2020
“Through her art, living spaces offer the potential for us to indulge in the present.”
“Episode 16: “What Makes Great Art?” with Margaux Williamson,” with Sky Goodden
Momus Podcast, Toronto, 2020
&“10 Binge-Worthy Art Podcasts in the Age of Coronavirus,” by Jori Finkel
New York Times, March 20 2020
"I COULD SEE EVERYTHING; An Interview with Margaux Williamson," by Laura Horne-Gaul
Tussle Art Magazine, New York 2015
"I recommend that you watch her film Teenager Hamlet, read her manifestos, How To Dress In Our New World, How To See In The Dark, and How To Act In Real Life, and be deeply moved by her paintings… Margaux Williamson presents an incredible oeuvre of brutally honest, beautiful, seemingly grimy painting. I Could See Everything, perhaps was a momentary or lengthy gift of sight, providing Williamson with the insight to life/art."
"Margaux Williamson’s Welcome Confusion," by Ana Cecilia Alvarez
Adult magazine, New York 2015
"This flat-screen world" by Kenneth Goldsmith
The Believer magazine, New York, 2014
"I was taken aback when I was so taken aback by Margaux Williamson’s paintings."
“Margaux Williamson’s Paintings for an Imaginary Museum” by Erica Schwiegershausen
New York Magazine, 2014
"Margaux Williamson Imagines Her Paintings in a Museum at the Top of the World," by Thessaly La Force
Vogue, New York 2014
"Joking/ Not Joking At All," Interview with Craig Taylor
Five Dials, London 2014
"Talking to all the smartest people in the world," by Joanna Pocock
3:am magazine, London 2014
"Margaux Williamson: Meet the artist whose life has been the stuff of fiction," by James Adams
Globe and Mail, Toronto 2014
"I Could See Everything: Margaux Williamson," by Hilary Harkness
Huffington Post, New York 2014
“Review of Margaux Williamson’s I Could See Everything,” by Chelsea Rooney
Capilano Review, Vancouver 2014
“Perhaps Nietzsche, in the late nineteenth century, could maintain the privileged fallacy that we cannot know the consequences of our actions. Williamson, of the twenty-first century, can, and does, see everything.”
"I will speak daggers," by Megan McDonald Walsh
Bomb Magazine, New York 2012
"Polymath only begins to describe Margaux Williamson, a Toronto-based painter, screenwriter, director, playwright, movie critic, and book character. When I imagine her, she seems to alight on genres as a butterfly might on flowers, pollinating each next one with the dust of the previous one."
“Dancing to the End of Poverty”
Playground Magazine, Madrid 2009
“Finally, a generation using YouTube the way God intended.”
“Rewind: Margaux Williamson,” by Davie Balzer
Canadian Art Magazine, Toronto Spring 2009
"Such feelings become everyone's invitation into Williamson's vision; we may not recognize the story (that is, if one is even being told), but we get the sense, and know there is magic in it. Somehow, by lurking in her secret world long enough, Williamson has learned to speak broadly, to master the delicate art of magnanimity."