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BlackFlash Spring/Summer 2022

Our spring issue celebrates and explores moments of collectivity—sharing spaces, experiences, and knowledge.

Editorial Features:

Orchard: Field Notes for a Public Sculpture, Permanently in Progress
By Diane Borsato

Don’t Forget to Count Your Blessings: The Summer of 2020
By Christina Hajjar

The Red Shift: Forming a Contemporary Indigenous Art Space
By Michael Peterson

From Smashed Potatoes to Bolo de Aipim: Artists in their Kitchens
By Carrie Perreault

Averted Self-Figurations: An Interview with Preston Pavlis
By Farid Djamalov

[$490.35]: Sean Weisgerber's Price Per Square Inch
By Cole Thompson

An Ecstatic Fullness: In Conversation with Leonard Suryajaya
By Luther Konadu

Shifting and Transitory: The Soundscapes of We Are Here FM
By Cléo Sallis-Parchet

Cover: Making Lucien Durey's Baba's Pierogies, 2021. Photo: Carrie Perreault

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.