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