BlackFlash Magazine - Issue 33.2

I denne utgaven

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.

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.