Author Archives: anthea black

About anthea black

Artist, writer, cultural worker.

The HIV Howler CALL FOR SUBMISSIONS Due May 1

CALL FOR SUBMISSIONS: The HIV HOWLER: Transmitting Art and Activism Issue 5 on Time = Money  desplácese hacia abajo para leer la llamada en español *COMING SOON* Deadline: May 1, 2020     YOU ARE INVITED TO SUBMIT YOUR WORK TO

The HIV Howler CALL FOR SUBMISSIONS Due May 1

CALL FOR SUBMISSIONS: The HIV HOWLER: Transmitting Art and Activism Issue 5 on Time = Money  desplácese hacia abajo para leer la llamada en español *COMING SOON* Deadline: May 1, 2020     YOU ARE INVITED TO SUBMIT YOUR WORK TO

The HIV Howler: Transmitting Art and Activism

  The HIV Howler: Transmitting Art and Activism is a limited edition art newspaper focusing on global grassroots HIV art and cultural production. Artists have and continue to play a fundamental role in shaping broader societal understandings of HIV and

The HIV Howler: Transmitting Art and Activism

  The HIV Howler: Transmitting Art and Activism is a limited edition art newspaper focusing on global grassroots HIV art and cultural production. Artists have and continue to play a fundamental role in shaping broader societal understandings of HIV and

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

HANDBOOK is a collaborative intervention in art and design pedagogy. It offers faculty a radical rethink on how to work with queer and transgender students on their path to becoming artists and designers – from the first day of school

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

HANDBOOK is a collaborative intervention in art and design pedagogy. It offers faculty a radical rethink on how to work with queer and transgender students on their path to becoming artists and designers – from the first day of school

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

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

Mirror Drawing

Singularity is always already plural; individuals are at once unique in their differences and relational to others. Anthea Black and Thea Yabut create drawings, book works, prints, photographs, and composite films simultaneously together and individually, each mimicking the other’s movements

Mirror Drawing

Singularity is always already plural; individuals are at once unique in their differences and relational to others. Anthea Black and Thea Yabut create drawings, book works, prints, photographs, and composite films simultaneously together and individually, each mimicking the other’s movements

Coupé à la mains

Coupé à la mains Blindfold a poet. Put her poems and a pair of scissors in her hands. Destroy, she said. Coupé à la mains uses a surrealist process of chance,”blind cutting,” to cut and reconfigure imagery and fragments of poems by Virginia Konchan: The Hand

Coupé à la mains

Coupé à la mains Blindfold a poet. Put her poems and a pair of scissors in her hands. Destroy, she said. Coupé à la mains uses a surrealist process of chance,”blind cutting,” to cut and reconfigure imagery and fragments of poems by Virginia Konchan: The Hand

Two Fold: twice as great or as numerous

Two fold is a wall-mounted accordion book that consists of 84 cut-paper panels. A collaboration between Black and Thea Yabut, Two fold begins with their ongoing “mirror drawing” studio game, and their practice of using scissors and knives as a drawing tool. Working

Two Fold: twice as great or as numerous

Two fold is a wall-mounted accordion book that consists of 84 cut-paper panels. A collaboration between Black and Thea Yabut, Two fold begins with their ongoing “mirror drawing” studio game, and their practice of using scissors and knives as a drawing tool. Working

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

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

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

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:

The New Politics of the Handmade: Craft, Art and Design

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

The New Politics of the Handmade: Craft, Art and Design

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

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: 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

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

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

PLEASURE CRAFT

Curated by Anthea Black, this screening explores appearances of craft and hand making in film and video from the 1960s to the present, where craft is a temporal process rather than a fixed object. Featuring works by Charles and Ray

PLEASURE CRAFT

Curated by Anthea Black, this screening explores appearances of craft and hand making in film and video from the 1960s to the present, where craft is a temporal process rather than a fixed object. Featuring works by Charles and Ray

Tea Time Folio: Mapping Informal Networks of Women Living with HIV

The Tea Time Folio is a series of limited edition prints by Anthea Black, Jessica MacCormack, and Johnny Nawrajac produced for Jessica Whitbread’s book Tea Time: Mapping Informal Networks of Women Living with HIV. Produced by Anthea Black and Jessica

Tea Time Folio: Mapping Informal Networks of Women Living with HIV

The Tea Time Folio is a series of limited edition prints by Anthea Black, Jessica MacCormack, and Johnny Nawrajac produced for Jessica Whitbread’s book Tea Time: Mapping Informal Networks of Women Living with HIV. Produced by Anthea Black and Jessica

DO LESS WITH LESS / DO MORE WITH MORE

Ladies’ Invitational Deadbeat Society’s limited edition DO LESS WITH LESS / DO MORE WITH MORE cross stitch pattern poster. The slogan on the original posters was drawn from Artivistic’s Promiscuous Infrastructures project at Centre des arts actuels Skol in Montréal, Québec

DO LESS WITH LESS / DO MORE WITH MORE

Ladies’ Invitational Deadbeat Society’s limited edition DO LESS WITH LESS / DO MORE WITH MORE cross stitch pattern poster. The slogan on the original posters was drawn from Artivistic’s Promiscuous Infrastructures project at Centre des arts actuels Skol in Montréal, Québec

Performing Austerity: Artists, Work, and Economic Speculation

The relationship between arts economies and austerity is a tumultuous one. We need only recall Stephen Harper’s sneering 2008 categorization of artists as rich complainers as evidence of the persistent myths that are used to devalue artistic work as “non-essential”

Performing Austerity: Artists, Work, and Economic Speculation

The relationship between arts economies and austerity is a tumultuous one. We need only recall Stephen Harper’s sneering 2008 categorization of artists as rich complainers as evidence of the persistent myths that are used to devalue artistic work as “non-essential”

TAG TEAM at the Canadian Lesbian and Gay Archives

TAG TEAM: Gay Premises Artists and Art Workers respond to Gay Premises: Radical Voices in the Archives, 1973-1983   Curated by Erin Silver Artists: Anthea Black, Sharlene Bamboat and Dina Georgis, Eugenio Salas, and Robert Waters Closing event August 28,

TAG TEAM at the Canadian Lesbian and Gay Archives

TAG TEAM: Gay Premises Artists and Art Workers respond to Gay Premises: Radical Voices in the Archives, 1973-1983   Curated by Erin Silver Artists: Anthea Black, Sharlene Bamboat and Dina Georgis, Eugenio Salas, and Robert Waters Closing event August 28,

The Ten Cognitive Distortions

The Ten Cognitive Distortions is a photocopied poster edition derived from a handout given to me by my therapist Maria. The original appears to have been photocopied (and possibly even faxed) several times before I received it. I recognize that most

The Ten Cognitive Distortions

The Ten Cognitive Distortions is a photocopied poster edition derived from a handout given to me by my therapist Maria. The original appears to have been photocopied (and possibly even faxed) several times before I received it. I recognize that most

Craft Hard Die Free in Extra/ordinary and The Craft Reader

“In Craft Hard Die Free: Radical Curatorial Strategies for Craftivism, Anthea Black and Nicole Burisch provide a brief international survey of activities which seek to deploy craft for the purposes of protest. Knitting, and other textile arts traditionally associated with

Craft Hard Die Free in Extra/ordinary and The Craft Reader

“In Craft Hard Die Free: Radical Curatorial Strategies for Craftivism, Anthea Black and Nicole Burisch provide a brief international survey of activities which seek to deploy craft for the purposes of protest. Knitting, and other textile arts traditionally associated with

GLITTER BIKE RIDE

Our dream for a world where transmutation of the ephemeral and impermanent self is possible. Beyond space and time. Returning to the sites of tragedy, an homage to those we’ve lost. Ghosts who haunt the living with a message of

GLITTER BIKE RIDE

Our dream for a world where transmutation of the ephemeral and impermanent self is possible. Beyond space and time. Returning to the sites of tragedy, an homage to those we’ve lost. Ghosts who haunt the living with a message of

LADIES INVITATIONAL DEADBEAT SOCIETY

The Ladies’ Invitational Deadbeat Society (LIDS) was founded in 2006 as a closely-knit affiliation of then-unemployed cultural workers, not working, but still bustin’ ass within Alberta artist-run culture. Their activities made visible and politicized women’s roles in the arts economy

LADIES INVITATIONAL DEADBEAT SOCIETY

The Ladies’ Invitational Deadbeat Society (LIDS) was founded in 2006 as a closely-knit affiliation of then-unemployed cultural workers, not working, but still bustin’ ass within Alberta artist-run culture. Their activities made visible and politicized women’s roles in the arts economy

SUPER STRING

SUPER STRING taps into the collective craft unconscious – the sound of thousands of knitting needles clicking in unison – and the prolific ways in which artists and activists make textiles to connect with each other, recycle, share skills, reclaim

SUPER STRING

SUPER STRING taps into the collective craft unconscious – the sound of thousands of knitting needles clicking in unison – and the prolific ways in which artists and activists make textiles to connect with each other, recycle, share skills, reclaim

looking for love in all the wrong places

looking for love in all the wrong places is an artist-curatorial project that commissions and disseminates limited edition silkscreen posters and multiples by queer artists for public spaces. When it began in 2006, the project was a call for collaboration and

looking for love in all the wrong places

looking for love in all the wrong places is an artist-curatorial project that commissions and disseminates limited edition silkscreen posters and multiples by queer artists for public spaces. When it began in 2006, the project was a call for collaboration and