BlackFlash Magazine - Issue 36.3

I denne utgaven

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)

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.