Chapman’s work rewilds the idioms and conventions of images to create works that respond to the visual language of the Anishinaabe today.
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This story begins with a stone. The stone is smooth and dark, fitting comfortably in my hand. It is carved with the outline of an outstretched hand.
More than forty years after completing her first photographic works–portraits of of her family and towns members of Meadow Lake, Saskatchewan–a community that still counts her as one of their own, Sandra Semchuk’s latest projects continue to enact forms of recognition and cross-cultural learning.
I can’t say this is a healthy way to be. It’s not. It means I wake up and check my phone in the middle of the night: someone has been shot.
The pronunciation of the format seems to be the sole maxim that the GIF has advanced. Beyond that, discursively and aesthetically, it’s relatively open season, hence its appeal as an artistic medium.
Inspired by the things around her in her curatorial, artistic, and personal practises, Willard dictates that art is derived from the everyday and the separation of ‘High Art’, as shown in galleries, should not dominate the dialogue on art.
A reflection on the evolution of photographic art, since BlackFlash’s 1983 founding
I recently had the pleasure of talking with Jordan Bennett about his art practice, the revitalization of Mi’kmaq visual culture, international travel, Indigenous ink, and being a multidisciplinary artist.
Like cryptophasiac twins who speak a tongue that only they can understand, Jason Cawood and Colby Richardson, as the collective Phomohobes, have created a specific but ambiguous lexicon of images, arranged in adherence to the grammar of their shared visual language.
Out of the international underground film movement of the 1960s, an alchemical avant-garde slowly formed. It formed in the home darkrooms and studios of artists who imagined a new cinema, an altogether handmade thing, wherein the conventional processes of the photochemical lab could be reshaped, the recipes refigured, to transmute the film strip’s latent image into something nobler than an image merely processed.