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• Re-presentations, Adaptations, and VARIATIONS

  Similarly, though less literally, the first 1:45 of Evangeline Belzile and Ian William Craig’s Untitled in VARIATIONS looks a bit like a moving re-presentation of Snow’s 1965 Test Focus Field Figure[http://www.paraethos.com/images/test-focus.jpg] painting, with its three ‘test-takes’ of...

• Re-presentations, Adaptations, and VARIATIONS

  Snow’s works and methods are re-presented and re(-)ferenced both aesthetically and formally throughout VARIATIONS. Dan Browne and Steve Richman’s Poem riffs on Snow’s concerns for framing by transcribing some of his experiments with...

• Re-presentations, Adaptations, and VARIATIONS

  Although conceived by Templeton as a project in its entirety, each of the works in VARIATIONS stand alone as a meditation on a particular word, grouping of words, feeling, or narrative...

• Re-presentations, Adaptations, and VARIATIONS

  Furthermore, the individual works also contain references to the lives and practices of their makers. The remainder of Belzile and Craig’s Untitled, for example, feels like a narrative depiction of...

• Who Can Save the Brides of Billy?: Horror and Gender in "Black Christmas" and "The Bloody Chamber"

  The killer is in the house.  It's a classic trope that's been around since baby sitters started babysitting, since the earliest days of horror films. The underrated classic, Black...

• Who Can Save the Brides of Billy?: Horror and Gender in "Black Christmas" and "The Bloody Chamber"

  The similarities begin in the depiction of our killers, the psychotic Billy in Black Christmas, and the blood-thirsty Duke in The Bloody Chamber. Before we get any visual details,...

• Who Can Save the Brides of Billy?: Horror and Gender in "Black Christmas" and "The Bloody Chamber"

  The telephone—a device that reinforces the theme of seeing/not-seeing—is the focus of some of the most terrifying scenes in Black Christmas, turning the killer into a bodiless, transcendent voice,...

• Christopher McKinnon

  *Christopher McKinnon* is a writer and community organizer who lives in Toronto.

• Slay, Okay

  It is with the much-discussed visual album’s disorienting ambition to simultaneously “challenge the ongoing present day devaluation and dehumanization of the black female body” and “to seduce, celebrate, and...

• An object is a slow event.

  Based now in Mexico City after having spent the last several years studying at Edinburgh College of Art and at CalArts in Los Angeles, De Laborde’s practice has evolved...