BlackFlash Magazine - Issue 37.2

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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

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.