“If you don’t know your history, you are doomed to repeat it. We know this line… Nothing from our past will fix our current situation if we do not accept our failures. Most of what I have created is documentation of monumentalized mistakes.”
Articles
In “Three Chores,” Mierau turns the prolific messes of the human body into “fanciful concentrations.” These are not the usual taking-out-the-garbage messes but, rather, the accumulations of the dreaming eye and the overactive follicle—organic messes that gather and persist despite us.
VABF 2020 will be featuring four incredible prairie publishers: Gytha Press, Brent Morley Smith, Plug In Institute of Contemporary Art, and The New Gallery.
When I’m drawing, I find myself on the floor in my bedroom with paper and chalk; at my desk with pens and permanent markers; using my finger as a stylus on my phone’s touch screen. To be close to the body is to be urgent.
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.
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.