Posts Tagged: writing

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

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

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

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: 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

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”