BlackFlash Magazine - Issue 37.1

In this issue

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

BlackFlash Magazine Description:

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.