Abstraction is both the language of photography and the language of global capitalism. Count the rings of a tree trunk to tell its age; count the number of buildings from a Lululemon Athletica to get your eviction deadline.
Articles
Judy Radul creates immersive installations that play with our senses and as Mitch Speed aptly states, “the relationship through which the performing of life itself occurs.”
Featuring responses by Em Rooney, Maria Hupfield, Jared Thorne, Namiko Kunimoto, and Luke Stettner, Sheilah ReStack asked artists, historians, and educators, “How do we engage with photography in order to unhinge it?”
Loving or unloving, families contain complex emotional structures that are informed by blood ties, love ties, like ties, amalgamation, and separation. They are subject to forces of love, ambition, adventure, restlessness, fear, commitment, and escape.
For our Spring 2020 issue, Toronto-based artist Hiba Abdallah created a 6-page poster series that is meant to be printed, posted, shared, and copied.
Nicole Kelly Westman seeks to re-enchant fleeting experiences with the poetics of light and the unveiled artifice of the low-tech tools of photographic special effects and movie magic.
Turning to her own family albums, Naqvi’s work combs through layered narratives that engage with themes of authenticity, cultural translation, language, and gender.
For many diasporic people of colour, food is tied to migration and can be deeply personal and complex. It can be a site of racism, shame, and trauma, a site for politicization, as well as a site for remembrance, family histories, and notions of home.
In this time of uncertainty and social distancing, sophia bartholomew explores the breadth and lasting impact of online spaces. “Sitting here searching for words, I’m startled by gaps in my own understanding when trying to describe an online exhibition.”
Katherine Connell and Esmé Hogeveen discuss two recent films by British filmmaker Beatrice Gibson ‘I Hope I’m Loud When I’m Dead’ (2018) and ‘Deux Soeurs Qui Ne Sont Pas Soeurs (Two Sisters Who Are Not Sisters)’ (2019).
How does photography act as a materialized genealogy of our memories? How do we understand our relationships to family, community, and the self through photography?