Features & Highlights:

Natasha Chaykowski writes on the popularity of vernacular photography.

Matthew Ryan Smith discusses the prevalence of Pixelation in photography and video.

Amber Christensen speaks with Winnipeg animator Leslie Supnet.

Randy Lee Cutler looks at Cyprian Gaillard’s film ‘Nightlife’.

Michael DiRisio on found photography artist Penelope Umbrico.

Stephen Broomer writes his final column for BlackFlash on Montreal based filmmaker Alexandre Larose.

An Artist Folio by Vancouver based filmmaker and animator Barry Doupe.

As well, the winners of Optic Nerve, our annual image contest.

BlackFlash Magazine's 2nd issue of Volume 40. This issue marks a transition in BlackFlash’s 40-year publishing history. Our fall 2023 issue is the last commissioned by our former managing editor Maxine Proctor in collaboration with our editorial committee.

BlackFlash Magazine is a platform for contemporary visual art. 

BlackFlash is dedicated to presenting critical opinions, urgent issues, and innovative ideas about divergent artistic practices from across Canada, the United States and beyond. Each issue includes feature articles, profiles, interviews, and artist projects from a diverse selection of artists, writers, and curators. BlackFlash fosters a rich public engagement with image-based practices, such as photography and video as well as sound, performance and social practice by promoting energetic debate and showcasing diverse voices and communities (local, regional, national and international).

BlackFlash was founded in 1983 by the Saskatoon artist-run centre, The Photographer’s Gallery (TPG). We are currently working on our 38th year of publication, making us one of Canada’s longest running magazines. BlackFlash is proudly published, designed, and disseminated in Saskatoon, Saskatchewan, and is an internationally recognized resource and authority on Canadian and international contemporary art.

BlackFlash was created to promote contemporary photography and over its thirty-five year history, the magazine evolved, following the artistic trajectory of photo-based practice to include artists working with new technologies such as video and digital media. In its commitment to being responsive to artists and relevant to contemporary art practice, the magazine has recently broadened its editorial mandate, while affirming its distinctive prairie perspective.

Our Winter 2023 issue considers the complexities of home and placemaking in the face of uncertainty. The issue’s editorial projects offer tools for inquiry, community and familial reconnection, self-expression, and the fight against erasure. While each project is self-contained and reflects the personal ethos of each contributor, there is dialogue that runs across the issue, resulting in themes and practices that reconsider and subvert our ideas of what makes a home.

Editorial Note: The Complexities of Home
By Maxine Proctor

The Conspiracy Theory as Allegory: Reflecting on “The Truck Guys”
By Lauren Fournier

Chinatown Gates: Monument Towards Decolonial Relationalities
By Lee Rayne Lucke

Don’t Forget to Count Your Blessings: Claiming the Hookah Lounge
By Christina Hajjar

artist project: A Typographic Collaboration featuring Julian Yi-Zhong Hou and Shane Krepakevich
BlackFlash x LE SIGH

Thinking Through Clay: Considering the Work of Prairie Artists Rebecca La Marre, KC Adams, and Amy Snider
By Margaret Bessai

Liberating Visions: Adad Hannah’s What Fools These Mortals Be
By India Rael Young

Black Joy and the Splendour of Community: A Reflection on “As We Rise: Photography of the Black Atlantic”
By Angela Walcott

Kulshan
By Paul Walde

Much of our fall editorial program considers the environment and how its overlapping histories inform contemporary social and cultural contexts. Through conversations about the evolution of monster plants, equity in the outdoors, and the aesthetics of food and fat, these works explore the myriad of ways that we can still advocate for ourselves and the natural world.

Editorial Note
By Maxine Proctor, Managing Editor

A Field Guide to Monster Plants 
By Amanda White

In Search of New Ground: Black Art and the Natural World 
By Neil Price

Don’t Forget to Count Your Blessings: Land of Living Skies 
By Christina Hajjar

The Asian American Dream: In Conversation with Yan Wen Chang 
By Angel Callander

Feeding the Trolls: The Bait and Switch in Zoë Schneider’s Grotesque in the Grotto 
By Christine Negus

Standards of Collaboration: Lan Florence Yee at Work 
By Emily Doucet

Love Through Resistance: The Visual Art Practice of Lido Pimienta 
By Shahroze Khan

Notes on Digging a Hole 
By Zachary Ayotte

Cover: Zachary Ayotte, Untitled from “Notes on Digging a Hole,” 2020. Image courtesy of the artist.

BlackFlash Spring/Summer 2022

Our spring issue celebrates and explores moments of collectivity—sharing spaces, experiences, and knowledge. 

Editorial Features: 

Orchard: Field Notes for a Public Sculpture, Permanently in Progress 
By Diane Borsato 

Don’t Forget to Count Your Blessings: The Summer of 2020 
By Christina Hajjar 

The Red Shift: Forming a Contemporary Indigenous Art Space 
By Michael Peterson 

From Smashed Potatoes to Bolo de Aipim: Artists in their Kitchens 
By Carrie Perreault 

Averted Self-Figurations: An Interview with Preston Pavlis 
By Farid Djamalov 

[$490.35]: Sean Weisgerber's Price Per Square Inch
By Cole Thompson 

An Ecstatic Fullness: In Conversation with Leonard Suryajaya 
By Luther Konadu 

Shifting and Transitory: The Soundscapes of We Are Here FM 
By Cléo Sallis-Parchet 

Cover: Making Lucien Durey's Baba's Pierogies, 2021. Photo: Carrie Perreault 


BlackFlash Fall/Winter 2021
Infinities guest-edited by Nadia Kurd

Infinities (Fall/Winter 38.3) brings together a range of Canadian artists and writers to examine the influence of the traditions and conventions of Islamic visual cultures on contemporary art. From techniques and symbols to concepts and designs, artists such as Tazeen Qayyum, Abdi Osman, Shaheer Zazai, Azadeh Elmizadeh have employed various methods and materials to not only show the ways in which Islamic visual cultures continues to inform their work, but also the challenges, possibilities and implications in doing so.

BlackFlash and Nadia Kurd are grateful for the generous support from Canada Council for the Arts for the production and dissemination of this issue.

Editorial Features:

Thinking Through Infinities and the Possibilities of Art Making
By Nadia Kurd

Muslims in Canada Archives (MiCA): Transforming Canada’s Representational Lens
By Moska Rokay

The Thin Line Between Modernity and Tradition in Queer Performance
By Abdi Osman

Distance, Difference, Destiny
By Tazeen Qayyum

Azadeh Elmizadeh, A Hundred Times, Why?
By Tammer El-Sheikh

“The Art of the Hustle”: How Photographer Faisa Omer is Reclaiming Beauty Standards and Breaking Barriers Through Storytelling
By Timiro Mohamed

In Keeping House: Radicalizing the Mundane as Potential for Reconciliation
By Yasmeen Nematt Alla

Traditions Unbound: An Interview with Jamelie Hassan
By Nadia Kurd

Grief, Tenderness, and Kinship: The Work of Habiba El-Sayed
By Sanaa Humayun

Of Land, Performance, and History: A Profile on Alize Zorlutuna
By Sam Shahsahabi

The Fiction of a Fixed Point: The Films of Rolla Tahir
By Nehal El-Hadi

Cover Image
Samar Hejazi, Little Blue-six, 2021. Tatreez (Palestinian embroidery) from The Intricacies of Wholeness series, 20 x 10 cm. Photo by Jessica Thalmann.

BlackFlash Fall 2021
A Temporary, Collectively-Held Space guest-edited by Carmen Papalia

Editorial Features:

On Our Terms: Care and Disability Justice
A conversation between Amanda Cachia and guest-editor Carmen Papalia

A Day in New York >> Kway Kiishkwihk Lenapehoking
By Vanessa Dion Fletcher

The Art World Needs to Welcome Us with Open Arms
By Aislinn Thomas

Trauma X: Holding Space Radically
By Vo Vo

restorative practices
By Mercedes Eng and Cecily Nicholson

Fighting MAID: A conversation with Q Lawrence on the Subject of C7 and the Disability Filibuster
By Kay Slater

Access Magicians in Cyberspace: Care as a Festive Practice
By Lisa Prentice

On Choosing a Neighbourhood (Be4)
By Joselia R. Hughes

BlackFlash Fall 2021: A Temporary, Collectively-Held Space was developed in partnership with the MacKenzie Art Gallery. The unique guest-edited issue is an extension of Carmen Papalia’s summer exhibition Provisional Structures at the MacKenzie Art Gallery curated by Nicolle Nugent.

The MacKenzie Art Gallery is honored to have been a part of this collaborative BlackFlash issue as an extension of our work with Carmen Papalia, the Provisional Structures project and our commitment to accessibility.

Cover: Cecily Nicholson, Leaves, 2021.
Image courtesy of the artist.
Image Description: The top two thirds of this photograph are filled with an ultra-close-up of a red lettuce leaf, taken from beneath, positioned as if it’s an awning protecting the camera from the sun. The leaf is wide, ruffled, and dew-dropped, and sunlight penetrates the green segments, but not the red. Beneath the red lettuce awning, a view of many rows of varieties of lettuce, round and full, at their prime for harvest, growing from dark soil.

Our Spring 2021 issue features a selection of candid conversations between Erika DeFreitas and Tarin Dehod, Jessie Ray Short and Laura St. Pierre, and Jacqueline Hoàng Nguyễn and Yuvinka Media. It also showcases the work of Chrysanne Stathacos, Timothy Yanick Hunter, and Christopher Lacroix as well as writing by Derek Coulombe, Nicole Leroy, and Lodoe Laura.

Each print publication contains a beautiful limited-edition lenticular postcard by Jacqueline Hoàng Nguyễn in partnership with Bonniers Konsthall and sponsored by CONTACT Photography Festival. 
 
Page 2. Editorial Note by Maxine Proctor, Managing Editor

Page 4. I See You Too by artist Erika DeFreitas and curator Tarin Dehod

Page 12. Calling Cards by Rhiannon Vogl

Page 18. The Historical Misrepresentation of Édouard Beaupré: A Conversation About Métis and Fransaskois Identity by Jessie Ray Short and Laura St. Pierre

Page 24. Two Names: The Ideological Construction of Multiculturalism and its Mechanisms by Jacqueline Hoàng Nguyễn and Yuvinka Medina 

Page 34. Timothy Yanick Hunter: Past/Present/Future Sense by Liz Ikiriko

Page 42. Ten Notes on the Men’s 20KM Race Walk of the 1984 Summer Olympics, as if It Were Now by Derek Coulombe

Page 46. The Body is a Fort by Henry Heng Lu

Page 54. Dreams of Ghosts: A Failing Grasp on the Past by Nicole Leroy

Page 58. window Winnipeg: an interview with Noor Bhangu, Mariana Muñoz Gomez, and Sarah Nesbitt by Lodoe Laura

Editorial Note 
By Maxine Proctor, Managing Editor/ 2

Leaky Bodies: Performance and Pain in the Work of Chloë Lum and Yannick Desranleau
By Cindy Baker/ 4

Eve Tagny: Beyond Grieving and Healing
By Mojeanne Behzadi/ 12

Dislocation and Reclamation: Rebuilding Indigenous Families in Gil Cardinal’s “Foster Child” and Tasha Hubbard’s “Birth of a Family” 
By Adriana Chartrand/ 18

She & Her & Me: Arpita Shah, Clea Christakos-Gee, Jennifer Long, Margaret Mitchell
A curated portfolio by Clare Samuel/ 24

Between Two Fictions: Kevin Ei-ichi deForest
By Lillian O'Brien Davis/ 32

Generation to Generation: The Legacy of Loss in the Films of Amalie Atkins
By Maxine Proctor/ 42

The Butterfly Effect: Landscape and Myth in the Photographic Work of Zoe Koke
By Lauren Lavery/ 52

Book of Mormon Stories Ruth Cuthand Retells to Me 
By Jera MacPherson/ 58


Editorial Note
Maxine Proctor, Managing Editor/ 2

A Conversation about Drawing
Lucas Regazzi and Laura McCoy/ 4

A Celebration of Quiet and Small: Organic Resilience in the Work of Andrew Dadson
April Thompson/ 12

The Amazing Monotony: A Response to Chantel Mierau’s Three Chores 
Jennifer Still/ 18

Movements in Place: The Community-Based Interventions of Columbian activist-artist Jorge William Agudelo Muñeton and Mexican filmmaker Elena Pardo
Zoë Hyne-Jones/ 24

Known / Un Known: Rachel Yezbick’s Sick Speech and the Exploration of Performing the Self and Queer Aesthetics in the Life, Work, and Death of Nasim Aghdam
Maeve Hanna/ 36

Lamenting the Remnants: Complicated Nostalgia in the Work of Heather Benning
Jaclyn Morken/ 42

The Ceaseless Devotion of KC Adams
Becca Taylor/ 52

Never Look Back: An Interview with Graham Wiebe
Clint Enns/ 58


Editorial Note 
Maxine Proctor, Managing Editor

Online Exhibitions and the Long Game of History
By sophia bartholomew

Family Photos: Notes on Zinnia Naqvi’s Dear Nani and Yours to Discover
By Noa Bronstein

Spectres of Loss: Diaspora and Yearning in the Work of Hagere Selam shimby Zegeye-Gebrehiwot by Hannah Godfrey
By Hannah Godfrey

Artist Project by Hiba Abdallah titled Declarations for a Different Future
Introduction by Alyssa Fearon

The Walls Have Ears: Judy Radul’s Lasting Phenomenology
By Mitch Speed

Partial Accountings of Photography featuring Em Rooney, Jared Thorne, Maria Hupfield, Luke Stettner and Namiko Kunimoto
By Sheilah ReStack

Bathed in Rays of Dying Light featuring the work of Nicole Kelly Westman
By Sandee Moore


Editorial Note
Maxine Proctor, Managing Editor

Gut Feelings: Digesting the work of Catherine Telford-Keogh 
By Daniella Sanader (ON)

The Weird Seduction of Michelle Bui’s Photography
By Emma Sharpe (ON/QC)

Seeing yourself/seeing others: ambiguous identification in Reza Rezai’s sculptural photography
By Jase Falk (MB)

Heart Flora: A Response to Karen Asher’s “Class”
By Nic Wilson (SK)

Offerings to both Past and Future: Still life photographs by Shellie Zhang
Introduction by Lorraine Chuen (ON)

Andil Gosine’s Cane Portraiture and the Aesthetics of Indenture
By Matthew Ryan Smith (ON)

The Limits of Self-Representation: A Conversation on Beatrice Gibson’s “Dreams of Social Life”
By Katherine Connell and Esme Hogeveen (ON/QC/UK)


Editorial Note
By Maxine Proctor, Managing Editor

A Habit of Tenderness: Michèle Pearson Clarke on Vulnerability and Black Visuality
By Letticia Cosbert Miller (ON)
In A Habit of Tenderness Letticia Cosbert Miller provides insight into the intimate portraits of Michèle Pearson Clarke (ON). 

Cast Your Glance Back at Me
By Maeve Hanna (AB)
In Cast your glance back at me, Maeve Hanna explores the difficulty and potential threat of deterioration associated when exhibiting fragile seminal video works. 

She calls me back to my body
By Quill Christie-Peters (ON)
Quill Christie-Peters revisits Rebecca Belmore’s (ON) 2000 performance The Indian Factory. 

Joi T. Arcand’s Wayfinding: a continuum of old and new school tagging and teachings
Introduction Cheryl L’Hirondelle (ON)
Over a number of years, Joi T. Arcand (SK/ON) has installed neon signs in galleries, institutions, and public spaces across Canada. 

They are all formidable: The interviews and portraits of Thelma Pepper
By Maxine Proctor (ON/SK)
Prairie icon Thelma Pepper (SK) is most revered for subverting the social and cultural expectations of age. At 60 years old, Pepper reinvigorated her lifelong interest in photography and dedicated new found free time to documenting the lives of Saskatchewan seniors, particularly women.

touching listening
Joanne Bristol (SK)
With the work of Kristin Nelson (MB) and Barbara Meneley (SK) in mind, Joanne Bristol offers questions of how to read, regard, and listen to the land and water without the common act of consumption. 

Joe Hambleton: Perambulation
By Yam Lau (ON)
Yam Lau discusses the future of consumption through the CGI technology in Joe Hambleton’s (ON) Perambulation.

BlackFlash Magazine’s annual Optic Nerve Image Contest 
Winner: B. G-Osborne (ON/QC), A Thousand Cuts, 2018 (ongoing).
Honourable Mentions: 
John Healey, Plastic Beach: Lake Superior, Jug Top, 2019.
Graham Wiebe, Mighty, 2018.

Editorial by Maxine Proctor, Managing Editor

Hardly Scraps: ASMR, Empathy, and Self-Care by Karie Liao 
When discussing the work of Yuula Benivolski (ON), Karie Liao (ON) drawns on the cultural significance and healing properties of ASMR.

Hot Spells: Image and Environment in the Work of Laura St. Pierre by Rose Bouthillier 
Rose Bouthillier (SK) examines the work of Laura St. Pierre (SK) in conjunction with how their communities are dealing with dramatic change and the uncertainty of the future; ecological devastation, cultural upheaval, and the endlessly exhausting effects of colonialism. 

The Visionary: Jessica Eaton’s Alternate Reality by Saelan Twerdy 
Saelan Twerdy illustrates how Jessica Eaton is driven to capture an alternate vision of reality, awaken our perceptions, and subsequently explore the abstract governance of our socio-economic landscape and digital culture. 

Between Reach and Grasp: The Eros Portfolio by Steven Beckly 
Steven Beckly’s (ON) photographic practice balances organic life and technological tools, illustrating the fine equilibrium that is necessary to live in a world that prioritizes rigid individuality over kinship intimacy. 

Luther Konadu and Pao Houa Her in Conversation 
Luther Konadu (MB) and Pao Houa Her (MN) share their personal experiences photographing their families, communities, and themselves. Through this conversation, they explore the binary between actively seeking change and at the same time grappling with a nostalgia for home and tradition. 

Archiving Affection: Randy Grskovic’s Dangerous Times by Rebecca Travis
Rebecca Travis (ON) interviews Toronto-based artist Randy Grskovic’s (ON) about his project Dangerous Times. . 

Tough Guy Mountain: Hypercapitalism in the Digital Realm by Paige Adrian 
Paige Adrian (SK) explores Tough Guy Mountain’s (ON) use of humour and the uncanny experience of Virtual Reality to showcase how labour and wealth is controlled in our contemporary economy.

FEATURES & HIGHLIGHTS

Editorial by Managing Editor Maxine Proctor

We Are Still Here by Jeff Thomas
We Are Still Here is an inside look into the life and career of one of the most influential contemporary photographers, Jeff Thomas. 

Responsible Hearts: T’uy’t’tanat-Cease Wyss and Anne Riley by Tarin Dehod
During a visit to the Banff Centre this summer, Tarin Dehod witnessed a performance by T’uy’t’tanat-Cease Wyss and Anne Riley as a part of the exhibition “If the river ran upwards” curated by Jacqueline Bell. 

Along for the Ride: A Conversation with Lori Blondeau by Troy Gronsdahl
This timely interview utilizes Lori Blondeau’s mid-career exhibition Grace: A Survey as a backdrop for this intimate conversation about her formidable practice. 

Consumer Symbols: A Glass Order by Cole Thompson
Cole Thompson discusses the work of Shelley Niro, Lori Blondeau, Marja Helander, and Thriza Cuthand in an attempt to showcase how Indigenous artist’s dissect consumer culture and its impact on contemporary ideologies, imagery, and relationships.

Redefining the Past: Christian Chapman’s Edmazinbiiget and the Remaking of Anishinaabe Visual Art by Nadia Kurd
Christian Chapman’s Super-8 film Edmazinbiiget is an ode to the life and times of Anishinaabe artists who lived and worked in Northern Ontario during the 1950s and 60s, Norval Morrisseau, Jackson Beardy, Roy Thomas, Benjamin Chee Chee, and Carl Ray. 
 
An Open Letter to Lawren Harris by Professor William Starling
Starlings are an invasive species of bird that were brought to Ontario alongside the European settlers. In a letter directed at the infamous Canadian painter Lawren Harris, Professor William Starling retraces the steps and missteps of Canadian history, culture, and identity from his almost omnipresent point of view.

BRUT NEUVE
Issue 35.2 was guest edited by Vancouver-based cultural geographer, writer, and collections manager Rhiannon Herbert, BA, MSc, and MLIS.  In her editorial statement, Herbert states, " 'Time and Lens-based' is morphing into a lightspeed-timelessness that requires new ways of looking. This issue doesn't attempt to fixedly capture a thesis of the 'Brut Nueve' of Internet Land.  But it does have a cohesive weirdness to it that I feel very much at home in, and where I hope that the voices and perspectives of those operating  in these brave new zones of creative social production can be heard."

Issue 35.2 contains writings by Geronimo Inutiq (QC),  Claire Scherzinger (BC), Elwood Jimmy (ON),  Steffanie Ling (BC),  Golboo Amani (ON), Francisco-Fernando Granados (ON), and Everest Pipkin (TX). We are also offering an In Studio interview with Sandra Semchuk (BC) by Althea Thauberger (BC) as well as an Artist Portfolio by Risa Horowitz. 

This spring we showcased the annual Optic Nerve Image Contest winner:  Luther Konadu (MB) and Honourable Mentions: Farihah Shah (ON) and Natalie Hunter (ON). Herbert also curated an @blackflashmag June Instagram Takeover by Adam Evanik, @tofuhermit.

FEATURES & HIGHLIGHTS

An editorial on our 35th anniversary and commentary on this issue by managing editor Travis Cole.

Feature: Marcus Miller (SK) writes on the touring exhibition “Brenda Francis Pelkey: A Retrospective.”

Feature: Mitch Speed (SK/DE) contemplates on the ever-changing medium of photography over the last 35 years in an essay entitled Stolen Spirits.

Feature: Randy Lee Cutler (BC) speaks on Vancouver based artist Marina Roy’s practice and its focus on environmental degradation and animal extinction as a historical reality.

Feature: Toby Lawrence (BC) interviews Dana Claxton (SK/BC) where they discuss “The Sioux Project – Tatanka Oyate,” the first art exhibition to explore contemporary Sioux aesthetics in Saskatchewan, on exhibition at the MacKenzie Art Gallery in Regina.

Risa Horowitz (SK) presents an Artist Folio based on her time during the Arctic Circle Summer Solstice Expedition residency entitled “I Set out to Track the Sun.”

Matthew Hills (NL) conducts our most recent STUDIO with “Two Chromogenic Curmudgeons: Evergon and Jean-Jacques Ringuette.”

In Focus: Portia Priegert (AB) discusses Victoria-based Tara Nicholson’s series “Arctic Claims.”

In Focus: Helen Wong (BC) speaks on indigenous curator and artist from the Secwepemc nation, Tania Willard’s recent work “#haunted_hunted” and her ongoing practice.

In Focus: Noor Bhangu (MB) speaks on the intersection of landscape art, lens based media and contemporary politics in her piece “The Language of Landscapes and Photographies.”

In Focus: Peter Morin (MB) previews the touring Indigenous sound exhibition “wnoondwaamin: we hear them.”

In Focus: Heather Rigg (ON) writes an article on Toronto-based artist Stephanie Comilang’s film Lumapit Sa Akin, Paraiso (Come To Me, Paradise).

In Focus: Jessica Karuhanga (ON) writes on multi-media artist Kapwani Kiwanga (FR).

In Focus: Natasha Chaykowski (AB) interprets the works and texts of Southern California-based Kite’s recent exhibition and performance “Everything I Say Is True.”

In Focus: Maxine Proctor (ON) discusses the dank memery of Goth Shakira (QC).

Sandee Moore (SK) corresponds with Kara Uzelman (SK) in our fourth STUDIO feature.

Saskatoon-based artist Jean-Sebastien Gauthier presents his Artist Folio Within Measure.

Pablo de Ocampo (BC) on the recent works of multi-media artist Allison Hrabluik (BC).

Michael DiRisio (ON) and Teresa Carlesimo (ON) discuss recent photo and video work that offers a critical analysis of global capitalism through the depiction of rocks and minerals as contested subjects.

Laurence Butet-Roch (ON) writes our feature article on photography and video artist Sarah Angelucci (ON).

Genevieve Flavelle (ON) conducts an interview with Samra Habib (ON), the creator of “Just me and Allah: A Queer Muslim Photo Project.”

In Focus: Media artist Clint Enns (ON) interviews Montreal filmmaker Guillaume Vallée.

In Focus: Filmmaker and film historian Stephen Broomer (ON) writes on Calgary filmmaker Kyle Whitehead.

In Focus: Curator Blair Fornwald (SK) writes on Regina collage collective Phomohobes: Jason Cawood and Colby Richardson.

In Focus: Writer Tom Kohut (MB) on sound Artist Adam Basanta (QC).

Media artist Farheen Haq (BC) along with multidisciplinary artist, curator and researcher France Trepanier (QC) produce our third STUDIO feature.

Anishinabe intermedia artist Scott Benesiinaabandan (MB) presents an Artist Folio of some of his most recent work.

Remai Modern curator of collections Sandra Fraser (SK) speaks to multidisciplinary artist Dominique Rey (MB).

Curator at the MacKenzie Art Gallery and artist Michelle Lavallee (SK) writes on multidisciplinary artist Jordan Bennett (NL)

Curator of exhibitions at the Remai Modern Rose Bouthillier (SK) speaks to visual artist Annie MacDonell (ON).

Matthew Ryan Smith (ON) interviews Jeff Bierk (ON) on his photography practice, addiction and exploitation in this incredible featured article.

Sheilah Wilson (NS/OH) and Dani Leventhal (OH) speak with Sarah Hollenberg (UT) on their video, Strangely Ordinary this Devotion for this issue's STUDIO feature.

Kegan McFadden(MB) presents his condensed ArtistFolio 'zine on Plug In Inc.'s 70's pop-up punk performance “band,” Mondo Trasho, from the upcoming publication Mondo Trasho: from the personal archives of Suzanne Gillies and Douglas Sigurdson.

Tarah Hogue (BC) writes on thirstDays, VIVO’s ongoing series of video, film, performance and ceremony events by project curator/artist-in-residence Jayce Salloum.

Amy Fung (ON) of Mice Magazine conducts a roundtable discussion on Media Art and publishing in the 21st century.

Daniella Sanader (ON) presents her In Focus article on Anna Hawkins (MD/QC) video “How to Chop and Onion.”

Rhiannon Herbert (BC) talks to Toronto based Kyler Zeleny on his incredible ongoing project Found Polaroids .

Filmmaker Leslie Supnet (ON) writes on filmmaker and photographer Christine Lucy Latimer (ON).

Filmmaker and writer Walter Forsberg talks to Aaron Zeghers about his expanded experimental documentary film "Holland, Man." based on the final days of his family's farm in our new feature, Studio.

Curator and writer India Rael discusses the Art Gallery of Greater Victoria's upcoming exhibition "Trans-Pacific Transmissions: Video Art Across the Pacific."

Artist and Curator Danielle St. Amour speaks on Charlotte Moth’s work and interviews Celia Perrin Sidarous about their simultaneous exhibitions last fall at the Esker Foundation in Calgary.

Visual arts critic and curator Stephen Horne discusses Yam Lau's recent video work.

Jean-Philippe Deneault looks at Stacey Tyrell's self-portrait series “Backra Bluid.”

Writer and art historian Denise Ryner discusses Manuel Piña-Baldoquín's video work Naufrago.

Documentary filmmaker Tasha Hubbard speaks to Tanya Lukin-Linklater about her multi media performance the the.

Jason Lazarus, a Florida based artist, educator, curator, and writer, follows up his Artist Folio from BlackFlash Issue 33.2 with an experimental manifesto entitled 33 meditations on photography.

Dagmara Genda presents her Artist Folio based on the work of Rachel Ruysch, a painter during Holland’s golden age of still-lifes.


Features & Highlights: 

Liz Park writes on Eritrean born Saskatchewan raised photographer Dawit Petros. 

Magdalyn Asimakis on Spanish born photographer Christina de Middel. 

Heather Rigg on AIMIA | AGO photography prize nominee Hito Steyerl. 

Tanya Lukin Linklater writes on indigenous multi-media artist Wendy Red Star.  

Jean Philippe Denault speaks to Quebec based multidisciplinary artist Caroline Monnet. 

Jason Lazarus presents his Artist Folio. 

Curator of the Contemporary Art Gallery in Vancouver Shaun Dacey speaks to Director-Curator team Sarah Joyce and Gordon Duggan of the New Westminster New Media Gallery. 

Video Artist and Curator Clint Enns speaks on Ontario based experimental filmmaker Christine Negus. 

And film programmer, artist and writer Irene Bindi talks to Winnipeg photographer Karen Asher on her new body of work The Full Catastrophe. 

Guest Edited by Haema Sivanesan

FEATURES & HIGHLIGHTS:

Yesomi Umolu, Assistant Curator, Eli and Edythe Broad Art Museum (USA) interviews Lao-American photographer Pao Houa Her (USA) on recent work and exhibition titled “Focus: Pao Houa Her”, which received an honourable mention in the Huffington Post’s “21 Art Exhibitions You’ll Be Talking About This Year”.

Writer and artist, Jen Hutton (ON) considers the work of Oliver Husain (ON), a film and installation artist with an interest in notions of theatrical and cinematic spectatorship.

Artist Lori Blondeau (SK) presents 10 photographs from the archive celebrating 20 years of TRIBE, a centre for evolving Aboriginal media, visual and performing arts.

Amy Kazymerchyk, Curator of Audain Gallery at SFU Galleries (BC) reflects on issues of art and labour in Althea Thauberger’s (BC) latest ‘experimental documentary’, “Preuzmimo Bencic”.

Artist, Andrea Pinheiro (ON/BC) considers the relationship between photography, painting and print in a series of artist pages, especially commissioned for this issue.

Filmmaker and film historian, Stephen Broomer (ON) writes on Montreal based video artist Sabrina Ratté (QC).

Artist, Isabelle Pauwels (BC) discusses artist, Vishal Jugdeo’s (SK/CA, USA) approach to script as a conduit of meaning in recent video installation work.

Emerging writer and curator, Ellyn Walker (ON) writes on artist Meryl McMaster’s (ON) ongoing photo-series “In-Between Worlds”, which examines relationships between Indigenous identity, art and territory.

32.2 (April, 2015) Features and highlights:

An article on Ethiopia-born, New York-based photographer/sculptor/video artist Awol Erizku by Matthew Ryan Smith (ON).

Heather Rigg (ON) writes on Algerian-born, Paris-based artist Mohamed Bourouissa's work, using photographs he took from a trip to Baffin Island, sculptures made from his own 3D printer and drawings inspired by the AGO's collection of Inuit Art to explore issues of copyright, cultural exchange and appropriation.

Alexandra McIntosh (NL) speaks on Richard Mosse's (IRL) visually arresting installation The Enclave prompted by the conflict in Democratic Republic of the Congo and presented at DHC/ART.

In response to Stronger Than Stone: (Re)Inventing the Indigenous Monument, Tarin Hughes (SK) contemplates the contemporary role of public art and monuments in conversation with artists and symposium participants.

Leah Taylor (SK) interviews painter Anna Plesset (NY) on her recent photo-based works.

Sheilah Wilson (US) continues her investigation into the changing face of photography in the 21st century with an interview with Raymonde April (QC).

Kyler Zeleny (ON) revisits his old prairie haunts by (re)presenting his Out West photography series in an exclusive artist project for BlackFlash.

As well, Stephen Broomer (ON) presents an In Focus column on the expanded cinema works of film maker Scott Fitzpatrick (MB).


32.1 (January, 2015) Features and highlights:

Alison Cooley (ON) writes on photographer Sarah Anne Johnson (MB).

Haema Sivanesan (SK) conducts an interview with Sandra Semchuk (BC) on her recent exhibition in North Battleford, entitled “Love Stories.”

Sheilah Wilson (US) continues her investigation into the changing face of photography in the 21st century with an interview with Evergon (QC).

Kegan McFadden (MB) presents his final column, “Notes With a Broken Camera” focusing on Berlin based artist Przemek Pyszczek (DE).

Clint Enns (ON) looks into the work of New Media artist Isiah Medina (ON).

Yam Lau (ON) writes an In Focus article on local artist Ellen Moffat (SK).

Melentie Pandilovski (MB) reviews V.16 of Send + Receive A Festival of Sound.

Josh Schwebel (QC) produces an artist project that laments the end of several Arts magazines by reinterpreting their old ad campaigns.

Along with the annual Optic Nerve Image Contest winners!!




31.3 (August, 2014) Features and highlights:

Manon Blanchette investigates Marisa Portolese’s prolific back catalogue. Presented alongside this article is the second installment of our new ArtistFolio feature, showcasing Portolese’s beautiful new series Belle de Jour II.

Rhiannon Vogl interviews Zachari Logan about his relationship to photography as source material for his incredible nature-based tapestry works.

Andrea Williamson explores Tyler Los-Jones (de)constructed landscape photographs.

Michael Nardone (QC) conducts an interview with Jan Michalko (DE) about his various trips to Eastern Europe, his process, and the trajectory of his work as he continues to document the region through it’s ongoing transition.

J.J. Kegan McFadden (MB) continues his ongoing column “Notes With a Broken Camera no. 3″ which looks at Raymond Boisjoly’s (BC) new work Station to Station through McFadden’s trademark personalized lens.

These highlights are presented alongside our regular In Focus departments featuring the work of Thomas Gardiner (BC), Christina Battle (ON), Kristie MacDonald (ON), and Ryan Trecartin (US).

31.2 (May, 2014) Features and highlights:

A conversation between Jacynthe Carrier (QC) (Photographer) and writer / artist  Katy Levan (ON).

A review of the 13th Istanbul Biennial by curator and writer Victor Wang (UK).

An in depth interview with French Moroccan video artist Bouchra Kahlili by arts writer Omayra Issa (SK).

A fascinating discussion with sound artist Richard Garet speaking on the first major exhibition on sound art in New York last year entitled “Soundings: a contemporary score” by critic / sound artist Esther Bourdages (QC).

A Review of the exhibition of British Columbian filmmaker Tyler Hagen’s “In the Similkameen” by Magdalyn Asimakis (ON)

In Focus

Jeannie Mah (SK) (Photographs on ceramics, site specific installation) by Julie Yu (SK)

Genevieve Thauvette (ON) (Photographer) by Sarah Beck (SK/ON)

Pascale Theoret-Groulx (QC/BC) (Video Artist) by Raymond Aubin (QC)

31.1 (February, 2014) Features and highlights:

A review of Erin Shirreff’s (BC/NY) Pictures exhibition at the Contemporary Art Gallery in Vancouver, presented alongside a specially commissioned Artist portfolio assembled exclusively for BlackFlash. Erin Shirreff was recently awarded the AIMIA | AGO Photography Prize for 2013.

An experimental cut up style interview conversation between found footage Video Artist Aleesa Cohene (BC) and curator/writer Amy Fung (BC).

An interview with controversial Canadian photographer Jonathan Hobin (ON) where he discusses his previous series of recreated tragedies entitled “In the Playroom” along with his new unreleased work “Cry Babies.”

As well as a critical overview of the Ryerson exhibition Ghost Dance: Activism. Resistance. Art. By writer / curator Matthew Smith (ON).

Presented alongside this is our regular departments:

In Focus (previously Of Interest) featuring the work of photographers Vivian Maier (NY) and Ayana Jackson (NJ) as well as new regular column by past Platform Gallery (Winnipeg) director / curator JJ Kegan McFadden (MB) entitled Notes With a Broken Camera focusing on intermediate artists works. For his first column he decided to focus on the video artist Chance Taylor’s film That First Friend.

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BlackFlash Magazine is a platform for contemporary visual art. 

BlackFlash is dedicated to presenting critical opinions, urgent issues, and innovative ideas about divergent artistic practices from across Canada, the United States and beyond. Each issue includes feature articles, profiles, interviews, and artist projects from a diverse selection of artists, writers, and curators. BlackFlash fosters a rich public engagement with image-based practices, such as photography and video as well as sound, performance and social practice by promoting energetic debate and showcasing diverse voices and communities (local, regional, national and international).

BlackFlash was founded in 1983 by the Saskatoon artist-run centre, The Photographer’s Gallery (TPG). We are currently working on our 38th year of publication, making us one of Canada’s longest running magazines. BlackFlash is proudly published, designed, and disseminated in Saskatoon, Saskatchewan, and is an internationally recognized resource and authority on Canadian and international contemporary art.

BlackFlash was created to promote contemporary photography and over its thirty-five year history, the magazine evolved, following the artistic trajectory of photo-based practice to include artists working with new technologies such as video and digital media. In its commitment to being responsive to artists and relevant to contemporary art practice, the magazine has recently broadened its editorial mandate, while affirming its distinctive prairie perspective.

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9. Magzter es un distribuidor y NO un editor de las Publicaciones, por lo que Magzter no tiene control editorial sobre el contenido, incluidas opiniones, consejos, declaraciones, servicios, ofertas, etc., que se representa en las revistas. Por lo tanto, Magzter no asumirá responsabilidad por la exactitud o confiabilidad de cualquier información o hecho proporcionado en el mismo o que esté disponible a través del servicio, por cualquier persona que no sea empleados autorizados de Magzter que estén actuando en sus capacidades oficiales. En consecuencia, no tenemos control editorial sobre las Publicaciones. Cualquier opinión, consejo, declaración, servicio, oferta u otra información o contenido expresado o puesto a disposición por terceros, incluidos los realizados en las Publicaciones ofrecidas por el Servicio, son de los respectivos autores o editores y no de Magzter. Magzter no será responsable de ninguna pérdida o daño causado por su confianza en la información obtenida a través del Servicio o de las Publicaciones. El Servicio puede contener enlaces a otros sitios de Internet y recursos de terceros y Magzter no asume ninguna responsabilidad por las comunicaciones o materiales disponibles en dichos sitios vinculados. Estos enlaces se proporcionan únicamente para su comodidad. Usted es el único responsable de comprender los términos y condiciones que puedan aplicarse cuando visita o realiza un pedido a través de un sitio de terceros.

El acceso, la navegación y el uso del sitio web de Magzter, los servicios de Internet y las aplicaciones para dispositivos móviles ('Aplicación') están sujetos a los siguientes Términos y condiciones ('Términos'). Por favor, lea estos Términos detenidamente. Crear una cuenta con Magzter ('nosotros', 'nosotros') o usar cualquier servicio o aplicación de Magzter o relacionado con Magzter significará que ha leído, entendido y acepta estar sujeto a estos Términos y cumplir con todas las leyes aplicables y reglamentos Estos Términos constituyen un acuerdo vinculante entre usted y Magzter Inc. y sus afiliados. Si no está de acuerdo con estos Términos, no puede usar el Servicio. ESTOS TÉRMINOS CONTIENEN RENUNCIAS DE GARANTÍA Y OTRAS DISPOSICIONES QUE LIMITAN LA RESPONSABILIDAD DE MAGZTER, POR LO QUE POR FAVOR LEA ESTOS TÉRMINOS EN SU TOTALIDAD. Magzter se reserva el derecho de cancelar inmediatamente su acceso al sitio web, servicio o aplicación relacionada con Magzter, si no cumple con este acuerdo. El sitio web de Magzter, los servicios de Internet y las aplicaciones para dispositivos móviles constituyen colectivamente el 'Servicio'. Este Servicio es propiedad y está operado por Magzter Inc. El Servicio incluye el sitio web www.magzter.com y la aplicación que le brinda la capacidad de ordenar, suscribirse y recibir la entrega de varias revistas, libros, noticias y contenido relacionado con revistas y publicaciones. (conocidos colectivamente como 'Publicaciones') y recibir estas versiones digitales de las Publicaciones.

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Regara a tus seres queridos una Tarjeta de regalo de Magzter y dales la libertad de leer sus revistas favoritas entre {{magCount}} títulos internacionales de mayor venta.

Girish Ramdas es cofundador y director ejecutivo de Magzter, una empresa nueva con sede en Nueva York que ha estado causando sensación en el negocio editorial digital mundial. Magzter ha superado los 80 millones de usuarios desde su creación en 2011 de más de 150 países con miles de revistas, periódicos y libros de más de 4500 editoriales de todo el mundo. Tiene más de 25 años de experiencia en publicación multiplataforma, incluido el desarrollo web, móvil y impreso. Durante este período, cofundó y dirigió tres exitosas empresas emergentes. Ha permitido que las empresas de revistas se vuelvan digitales y las ayuda a monetizar su contenido en todo el mundo digital. La profunda experiencia de Girish en la industria en ecosistemas en línea, móviles y editoriales lo ha convertido en un experto en adquisición, mercadeo y monetización de contenido digital en plataformas a nivel mundial.

 En caso de que encuentre algún contenido objetable en nuestra plataforma, hemos implementado una política de reparación de quejas para abordar sus inquietudes.

Magzter Inc. (”Compañía” , ”nosotros” , ”nos”  o ”nuestro” ) sabe que le importa cómo se usa y comparte su información personal.Lea la siguiente política de privacidad(la ”Política” ) para obtener más información sobre nuestras prácticas de privacidad.Al visitar cualquiera de los sitios web operados por la Compañía y cualquiera de sus subdominios, o al usar cualquiera de nuestras aplicaciones móviles y otros métodos de distribución de contenido(colectivamente, el ”Servicio” ), usted reconoce que acepta las prácticas y políticas descritas.en esta Política, y usted acepta que recopilaremos, usaremos y compartiremos su información de las siguientes maneras.

Magzter Inc. es el puesto de periódicos digital multiplataforma de autoservicio más grande y de más rápido crecimiento del mundo con más de 80 millones de usuarios desde su creación en 2011 y miles de revistas y periódicos en más de 40 categorías y más de 60 idiomas. Con sede en Nueva York, Magzter tiene presencia local en Ámsterdam, Londres, Ciudad de México, Chennai, Mumbai, Nueva Delhi, Bangalore, Singapur y pronto se expandirá a otros países. Fundada por los empresarios globales, Girish Ramdas y Vijay Radhakrishnan en junio de 2011, Magzter permite a los editores de revistas y periódicos de todo el mundo crear y entregar ediciones digitales de sus títulos a los consumidores globales.

 Magzter se compromete a proporcionar una plataforma segura para nuestros usuarios. Tenga en cuenta que Magzter es simplemente una plataforma para que los editores distribuyan su contenido. No controlamos ni respaldamos el contenido publicado en nuestra plataforma. No podemos responsabilizarnos por las acciones de nuestros editores o su contenido.

Magzter no es responsable de indemnizar a ninguna parte que haya sufrido daños o incurrido en costos debido a cualquier contenido, o parte del contenido, que viole sus derechos. Magzter no es responsable de enfrentar ninguna acción legal en un tribunal civil por cualquier violación de derechos causada por cualquier contenido, o parte del contenido, que infrinja los derechos de un tercero.

Magzter ofrece el servicio de suscripción ”All- You - Can - Read”  más grande del mundo llamado Magzter GOLD, que brinda a los lectores digitales acceso ilimitado a más de 9,000 revistas y periódicos por un precio de suscripción mensual.Magzter también tiene la mayor cantidad de historias en el mundo con su innovadora función ezRead 2.0 para sus aplicaciones, que permite a los usuarios de teléfonos inteligentes y dispositivos móviles de pantalla pequeña disfrutar el contenido de la revista de la manera en que debe disfrutarse, con el texto del artículo que es fácil de leer y se acompaña de impresionantes videos y fotografías de alta resolución.

Nombre

Llena este formulario si necesitas ayuda para publicar tu contenido en Magzter

 Antes de Magzter, fue presidente de Dot Com Infoway (DCI) y Galatta Media. Sus funciones incluían marketing estratégico, desarrollo de asociaciones y monetización de contenido a nivel mundial. DCI creció de un pequeño equipo de 3 en 2000 a 300 en 2011 y se ocupaba del desarrollo web, de software y de aplicaciones para clientes de todo el mundo.

Desde que iniciamos, Magzter ha estado comprometida para asociarse con organizaciones globales para brindar la mayor tecnología y servicio de puesto de revistas posible a nuestros clientes. Si estás buscando ofrecer suscripciones a revistas a tu base de datos de clientes o si solo quieres aprender más, Magzter está comprometida a ayudar al crecimiento de tu empresa. Para obtener más información, llena el siguiente cuestionario:

 La DMCA nos permite restaurar el contenido eliminado si la parte que presentó el Aviso de DMCA original no presenta una acción judicial en su contra dentro de los diez días hábiles posteriores a la recepción de la copia de su Contraaviso.

Esta Política cubre el tratamiento de la Compañía de la información de identificación personal(”Información personal”) y otra información sobre usted y su computadora o dispositivo que la Compañía recopila cuando accede al Servicio.Podemos recopilar Información personal de usted, como se explica con más detalle a continuación, y usamos esta Información personal internamente en relación con nuestros Servicios, incluso para personalizar, proporcionar y mejorar nuestros productos, servicios, contenido y publicidad, y para permitirle para configurar una cuenta y un perfil de usuario, para contactarlo, para cumplir con sus solicitudes de ciertos productos y servicios, y para analizar cómo usa los Servicios.En ciertos casos, también podemos compartir cierta información personal con terceros, pero solo como se describe en el punto 4.

Este título está incluido con su suscripción Magzter GOLD

 Para analizar la calidad del contenido y proporcionar comentarios apropiados a los editores.

 Hemos designado un oficial de quejas para abordar cualquier queja relacionada con contenido objetable.

 Solicitamos que cualquier queja relacionada con contenido objetable se envíe al Oficial de quejas por correo electrónico a la dirección de correo electrónico mencionada anteriormente. También le solicitamos que proporcione los siguientes detalles al presentar una queja

y la Aplicación que le brinda la capacidad de ordenar, suscribirse y recibir la entrega de varias revistas, libros, noticias y contenido relacionado con revistas y publicaciones (conocidos colectivamente como "Publicaciones") y recibir estas versiones digitales de las Publicaciones

C.También recopilamos información asociada con su uso de la aplicación para hacer recomendaciones personalizadas.Si nos proporciona las credenciales de su cuenta de terceros, comprende que parte del contenido o la información de esas cuentas(”Información de la cuenta de terceros”) se puede transmitir a su cuenta con nosotros si autoriza dichas transmisiones, y esa cuenta de terceros La información transmitida al Servicio está cubierta por esta Política.

 F. La información personal que recopilamos nos permite responder a sus solicitudes, mejorar nuestros productos y servicios, personalizar la publicidad y el contenido que ve y comunicarnos con usted sobre nuevos productos.

es el puesto de periódicos digital multiplataforma de autoservicio más grande y de más rápido crecimiento del mundo con más de 85 millones de usuarios desde su creación en 2011 y miles de revistas y periódicos en más de 40 categorías y más de 60 idiomas. Con sede en Nueva York, Magzter tiene presencia local en Ámsterdam, Londres, Ciudad de México, Chennai, Mumbai, Nueva Delhi, Bangalore, Singapur y pronto se expandirá a otros países. Fundada por los empresarios globales, Girish Ramdas y Vijay Radhakrishnan en junio de 2011, Magzter permite a los editores de revistas y periódicos de todo el mundo crear y entregar ediciones digitales de sus títulos a los consumidores globales.

 norte. También utilizaremos la información de uso para garantizar que los usuarios cumplan con nuestros Términos de uso. Por ejemplo, la información de uso de un usuario nos ayudará a confirmar que un usuario solo descarga una revista u otro contenido un número permitido de veces o en un número permitido de dispositivos.

 que brinda a los lectores digitales acceso ilimitado a más de 9,000 revistas y periódicos por un precio de suscripción mensual. Magzter también tiene la mayor cantidad de historias en el mundo con su innovadora función ezRead 2.0 para sus aplicaciones, que permite a los usuarios de teléfonos inteligentes y dispositivos móviles de pantalla pequeña disfrutar el contenido de la revista de la manera en que debe disfrutarse, con el texto del artículo que es fácil de leer y se acompaña de impresionantes videos y fotografías de alta resolución.

BlackFlash Magazine - Issue 33.1

BlackFlash Magazine - Issue 33.1

En este asunto

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