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• Editor's Note

  Lately I have been thinking about which artists are remembered in the annals of art history and beyond and which are not. In Lynn Hershman Leeson’s 2010 documentary !Women,...

• SPAM: No More Plastic Humyns! I Want Affective Indoctrination.

  Currently, as we live through a pandemic with government mandated self-isolation, we are facing increasingly online and networked existences. So many interactions and behaviours that consisted of physical humyn...

• SPAM: No More Plastic Humyns! I Want Affective Indoctrination.

  Yet, art institutions have fallen under more scrutiny in the context of the pandemic.⁸Though artists are expected to continue production for income and reputation, online art production has changed the...

• Calling All Queers: A Spotlight on NFB Animation

  We hear the story from a third person perspective about how the couple initially grew up together in a group home. One night they pushed their beds together...

• Alone Together, Fast and Slow: Browsing through the films of Greetings from Isolation

  Perhaps one of the most personal film about connection in the capsule is Peter Lynch’s My Pandemonia (2020). While the film starts with various images and videos of his life with...

• Demons and Demonization: Filming the Anti-Dungeons & Dragons Hysteria

  By the later ‘80s, anti-D&D hysteria had died down, but TSR itself was cautious enough that the words “devil” and “demon” were all but banned in new products, replaced...

• Editor's Note

  As noted in the Tate Museum description of the work: “In the House of My Father  was made for the 1997 exhibition ‘9 Nights in Eldorado’at South London Gallery which Rodney dedicated to his father...

• The SMELL DA COFFEE TV Sitcom Pilot: How Black? How Funny?

  These markers critically help to provide a sense of inclusion to those of us whose cultures are featured in the pilot, as well as indicate that other Afro-Canadian traditions...

• The Black Diaspora in Conversation: From Ousmane Sembène to Marilyn Cooke

  I was struck by Keity’s features; her dominance as the central figure of the film evoked memories of Ousmane Sembène’s 1966 film Black Girl [La Noire de…].  The third...