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32.2 (April, 2015) Features and highlights:

An article on Ethiopia-born, New York-based photographer/sculptor/video artist Awol Erizku by Matthew Ryan Smith (ON).

Heather Rigg (ON) writes on Algerian-born, Paris-based artist Mohamed Bourouissa's work, using photographs he took from a trip to Baffin Island, sculptures made from his own 3D printer and drawings inspired by the AGO's collection of Inuit Art to explore issues of copyright, cultural exchange and appropriation.

Alexandra McIntosh (NL) speaks on Richard Mosse's (IRL) visually arresting installation The Enclave prompted by the conflict in Democratic Republic of the Congo and presented at DHC/ART.

In response to Stronger Than Stone: (Re)Inventing the Indigenous Monument, Tarin Hughes (SK) contemplates the contemporary role of public art and monuments in conversation with artists and symposium participants.

Leah Taylor (SK) interviews painter Anna Plesset (NY) on her recent photo-based works.

Sheilah Wilson (US) continues her investigation into the changing face of photography in the 21st century with an interview with Raymonde April (QC).

Kyler Zeleny (ON) revisits his old prairie haunts by (re)presenting his Out West photography series in an exclusive artist project for BlackFlash.

As well, Stephen Broomer (ON) presents an In Focus column on the expanded cinema works of film maker Scott Fitzpatrick (MB).

BlackFlash Magazine Description:

BlackFlash Magazine is a platform for contemporary visual art.

BlackFlash is dedicated to presenting critical opinions, urgent issues, and innovative ideas about divergent artistic practices from across Canada, the United States and beyond. Each issue includes feature articles, profiles, interviews, and artist projects from a diverse selection of artists, writers, and curators. BlackFlash fosters a rich public engagement with image-based practices, such as photography and video as well as sound, performance and social practice by promoting energetic debate and showcasing diverse voices and communities (local, regional, national and international).

BlackFlash was founded in 1983 by the Saskatoon artist-run centre, The Photographer’s Gallery (TPG). We are currently working on our 38th year of publication, making us one of Canada’s longest running magazines. BlackFlash is proudly published, designed, and disseminated in Saskatoon, Saskatchewan, and is an internationally recognized resource and authority on Canadian and international contemporary art.

BlackFlash was created to promote contemporary photography and over its thirty-five year history, the magazine evolved, following the artistic trajectory of photo-based practice to include artists working with new technologies such as video and digital media. In its commitment to being responsive to artists and relevant to contemporary art practice, the magazine has recently broadened its editorial mandate, while affirming its distinctive prairie perspective.