Handbook: Supporting Queer and Trans Students in Art and Design Education

  Handbook: Supporting Queer and Trans Students in Art and Design Education is the first student-authored resource book of its kind. The guide draws from anti-oppressive education models to enable faculty to unlearn and critically address oppression on the basis of

Handbook: Supporting Queer and Trans Students in Art and Design Education

  Handbook: Supporting Queer and Trans Students in Art and Design Education is the first student-authored resource book of its kind. The guide draws from anti-oppressive education models to enable faculty to unlearn and critically address oppression on the basis of

LOUISE, 2013-2015, photograph.	
photo credit: Louise Bourgeois: Drawings and Observations, by Louise Bourgeois and Lawrence Rinder, 1996 and Anthea Black, Thea Yabut, and Brad Isaacs.

LOUISE

LOUISE is part of a collaborative project with Thea Yabut that was sparked by an image of Louise Bourgeois in her studio. Who are we (with) in the studio? Who is Bourgeois looking at as she turns from her drawing?  Our

LOUISE, 2013-2015, photograph.	
photo credit: Louise Bourgeois: Drawings and Observations, by Louise Bourgeois and Lawrence Rinder, 1996 and Anthea Black, Thea Yabut, and Brad Isaacs.

LOUISE

LOUISE is part of a collaborative project with Thea Yabut that was sparked by an image of Louise Bourgeois in her studio. Who are we (with) in the studio? Who is Bourgeois looking at as she turns from her drawing?  Our

PatternFugitives_front-Louise-WEB

LIVE FROM PATTERN HUT

LIVE FROM PATTERN HUT An accordion bookwork that contains reproductions of six film stills from Black and Yabut’s work Maman and Me. On the reverse, a critical text by Jen Kennedy entitled “Fugitive Patterns,” is paired with images from the performative

PatternFugitives_front-Louise-WEB

LIVE FROM PATTERN HUT

LIVE FROM PATTERN HUT An accordion bookwork that contains reproductions of six film stills from Black and Yabut’s work Maman and Me. On the reverse, a critical text by Jen Kennedy entitled “Fugitive Patterns,” is paired with images from the performative

Maman and me, 2012-2015, HD video and 16mm cameraless animation transferred to video. Projected as a loop, 5:35 minutes.

Maman and me

Maman and me combines imagery of hair, brushing, braiding, spiders, knives, scissors, and cut paper derived from my interest in the work of Louise Bourgeois and my collaboration with Thea Yabut. The work utilizes both “blind cutting” and cameraless animation:

Maman and me, 2012-2015, HD video and 16mm cameraless animation transferred to video. Projected as a loop, 5:35 minutes.

Maman and me

Maman and me combines imagery of hair, brushing, braiding, spiders, knives, scissors, and cut paper derived from my interest in the work of Louise Bourgeois and my collaboration with Thea Yabut. The work utilizes both “blind cutting” and cameraless animation:

Craft on Demand: The New Politics of the Handmade

Craft on Demand: The New Politics of the Handmade is a publication on contemporary craft politics edited by Anthea Black and Nicole Burisch. Craft on Demand examines the role of the handmade in contemporary art, craft and design as part

Craft on Demand: The New Politics of the Handmade

Craft on Demand: The New Politics of the Handmade is a publication on contemporary craft politics edited by Anthea Black and Nicole Burisch. Craft on Demand examines the role of the handmade in contemporary art, craft and design as part

NO PLACE POSTER Tromsø

NO PLACE: Queer Geographies on Screen

NO PLACE: Queer Geographies on Screen is a touring exhibition program that features the work of Canadian and international queer and trans-identified artists who examine ways in which queer notions of place, mapping, and geography are realized on screen. The works

NO PLACE POSTER Tromsø

NO PLACE: Queer Geographies on Screen

NO PLACE: Queer Geographies on Screen is a touring exhibition program that features the work of Canadian and international queer and trans-identified artists who examine ways in which queer notions of place, mapping, and geography are realized on screen. The works

PASS, Anthea Black and Mikiki, June 21, 2014. NUIT ROSE. James Canning Gardens.

PASS

Many kinds of queer and material knowledge are constructed around the notion of passing, including elaborate forms of hair, self-presentation, drag, and costume. Queer bodies know and hold more than can be told, or spoken; for one night only we

PASS, Anthea Black and Mikiki, June 21, 2014. NUIT ROSE. James Canning Gardens.

PASS

Many kinds of queer and material knowledge are constructed around the notion of passing, including elaborate forms of hair, self-presentation, drag, and costume. Queer bodies know and hold more than can be told, or spoken; for one night only we