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Current Issue: FALL 2017





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FALL 2017


Jerry Ropson and the myth of home / Review by Craig Francis Power

Archival Alchemy / Editorial by Lizzy Hill

Brenda Francis Pelkey’s visual trespassing / Feature by Kathleen Higgins

Brendan Fernandes creates hybrid ghosts / Q + A by Lizzy Hill

Jonathan Howse’s sacred ordinary / Review by Allison Graves

Raven Davis’ de-celebration of Canada /  Feature by Adria Young

Essential Shoes’ strange nostalgia/ Review by Mitch Speed

Emily Pittman’s exploration of colour / Profile by Ray Cronin

Keeley Haftner’s landfill of forgotten art / Feature by Geordie Miller

Jessica Gnyp’s homage to obsolescence / Q + A by Lizzy Hill

Sound Etiquette and the politics of noise / Review by Ray Cronin

Photopolis defies festival conventions / Festival Spotlight by Becka Barker

Uncommon Common Art celebrates the rural / Festival Spotlight by Jessica Winton

Fall Exhibitions / Previews by Lizzy Hill

Geoffrey Farmer brings the “problematic” to Venice / Dispatch by Mireille Eagan


Steele + Tomczak collect strangers’ confessions

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Lorraine Field confronts our mortality / Review by Daniel Higham

Symbolically connected / Editorial by Lizzy Hill

Amery Sandford’s complex relationship with Newfoundland identity / Essay by Craig Francis Power

Stephanie Yee’s feast for thought / Profile by Jonathan Rotzstain

A walk through Rachel Morouney’s funerary jars / Review by Kathleen Higgins

Remembering Felicity Redgrave / In memoriam by Ray Cronin

Jordan Bennett, Ursula Johnson and the potency of language / Review by Craig Francis Power

Gallery Guide / Exhibition listings by Lizzy Hill

Feminist data visualization and the politics of information / Review by Amanda Shore

Landon Mackenzie’s personal creative process / Review by Ray Cronin

Richard Ibghy and Marilou Lemmens assess our relationship with work / Review by Geordie Miller

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Spring 2017

Lisa Hirmer’s Distorted Landscapes Feature by Kathleen Higgins

Order + Chaos / Editorial by Lizzy Hill

New Found Lands explores marginalized histories / Feature by Mireille Eagan

Daniel Hutchinson bends light and space / Review by Ray Cronin

Rita McKeough and Graeme Patterson reimagine invasive species / Feature by Geordie Miller

The power of taste-based art / Field Report by Amanda Shore

Gallery Guide / Exhibition listings by Lizzy Hill

Holding space with Rachel Beach / Feature by Kathleen Higgins

Terroir gives Nova Scotia artists needed exposure / Viewpoint by Audrey Nicoll

Allison Hrabluik finds absurdity in the everyday / Review by Becka Viau

The scale of William Robinson / Q + A by Jonathan Rotzstain

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Fall 2016

Myths + Monsters

Carl Zimmerman’s decaying monuments: Review by Daniel Hingham

Myths and monsters: Editorial by Lizzy Hill

Lyric Cranium’s miscellaneous fictions: Review by Mirielle Eagan

Marigold Santos’ Hybrid Beasts: Q + A by Lizzy Hill

Mitch Mitchell’s Alchemical Objects: Review by Kathleen Higgins

Gallery Guide: Exhibition listings by Lizzy Hill

Ambera Wellmann’s paintings and posts: Profile by Jonathan Rotsztain

Yorodeo’s mythical explorations: Review by Anna Taylor

Retracing the Songlines on The Magdalen Islands: Feature by Becka Viau

WhiteFeather Hunter’s flesh and fiber: Profile by Mike Landry

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Rilla Marshall maps lost terrain: Review by Kathleen Higgins

Inside Out: Editorial by Lizzy Hill

Artists explore the domestic: Review by Mary MacDonald

On environments with Jesse Jacobs: Profile by Jonathan Rotsztain

Unearthing Hank Bull: Review by Kathleen Higgins

Ray Fenwick’s identities in flux: Dispatch by sophia bartholomew

Gallery Guide

On interpreting the woodland: Eryn Foster interviews Susan Tooke

Artist Page: Tonia Di Risio

Towards a theory of grant aesthetics: Essay by Merray Gerges

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Spring 2016

In the Issue:

The echoes of l’acadie Mythique: Review by Kathleen Higgins

The Resistance Issue: Editorial by Lizzy Hill

Leah Modigliani’s archival alchemy: Q + A by Becka Viau

Richard Mueller’s Eye Witness Review: Review Susan Gibson Garvey

Y-Level’s Wooden Fruit: Review by Craig Leonard

Gallery Guide: Critic’s choice exhibition listings

Coco Guzman’s Los  Fantasmas: Response by Craig Francis Power

Lisa Theriault and Alisa Arsenault’s fragmented worlds: Response by
sophia bartholomew

The 2015 Sobey Art Award: Dispatch by Kathleen Higgins

New work by Paulette Phillips and Thierry Delva: Review by Adria Young

The playful pain of Neil LaPierre: Profile by Jonathan Rotsztain

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Fall 2015

In the issue:

Below the Surface with Michael Pittman: by Mireille Eagan

Haunt: Editorial by Lizzy Hill

The seductive world of Patrick Traer: by Kathleen Higgins

Artist Page: featuring the work of Jordan Bennett

Reflecting on the work of Geneviève Cadieux: By Daniel Higham

Reviews of Bridget Moser: Is This Thing On and An Intimate Distance: by Lizzy Hill

Gallery Guide: Must-see exhibitions this season

A conversation with Cathy Busby: by Christian ledwell

The creative logic of John Greer: by Adria Young

Sam Kinsley’s Self Portraits: By Anna Taylor

Nicole Pietrantoni’s ‘New Natural’: by Allison Saunders

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Summer 2015

In the issue:

Anatomica’s view on the interior: Review by Jaime Forsythe

On women’s work: Editorial by Lizzy Hill

Folklore and Other Panics at The Rooms: Review by Craig Francis Power

Mathew Reichertz’s trash tales: Review by Daniel Higham

Under the passing stars’ voyeuristic impulse: Review by Kathleen Higgins

Artist Page: Charley Young

Gallery Guide Your curated exhibition listings

The textile work of Joanna Close: Review by Anna Taylor

The world of Anna Torma: Feature by Regina Marzlin

Dark Utopia’s conflicted wanderlust: Feature by Kathleen Higgins

Amanda Dawn Christie’s The Marshland Radio Plumbing Project: Feature by Mike Landry

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Janet Wright-Cheney’s Cellar: Review by Audrey Nicoll

Editorial by Lizzy Hill: (in)habit

Séripop’s exploration of entropy: Review by Christian Ledwell

Making Otherwise: Review by Daniel Higham

Jeff Whetstone’s Feral Lands: Review by Kathleen Higgins

Petapan First Light Arts Symposium: Art News by Shannon Webb-Campbell

Black Ice: David Blackwood: Book Review by Lizzy Hill

Colville: Book Review by Mike Landry

Exhibition Spotlight: Your Spring gallery guide

(im)mobile’s shifting spaces: Review by Kathleen Higgins

Camp Fire’s subversive ceramics:Review by Hilary Beaumont

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FALL 2014

Mathieu Léger’s Cultural Detritus: Review by Mike Landry

On Community: Editorial by Lizzy Hill

Artist Pages: Jerry Ropson

Jerry Ropson’s everyday curiosities: Q & A by Kaylee Maddison 

Doing Our Own Thing: Review by Tila Kellman

Ursula Johnson’s Mi’kwite’tmn (Do You Remember): Review by Hilary Beaumont

Oh, Canada comes home: Feature by Lizzy Hill

Emily Falencki’s  solo exhibition at the AGNS: Review by Audrey Nicoll

Halifax’s Art Boat Project: Art News by Daniel Higham

All that Glows: Review by Kathleen Higgins

Hangama Amiri’s love of place: Profile by Veronica Simmonds

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Decoding Graeme Patterson: Feature by Audrey Nicoll

The Nostalgia Issue: Editorial by Lizzy Hill

Mike Gough’s RETRACE: Review by Jennifer McVeigh

Magic and Realism: Essay by Aaron Weldon

Rose Adams: Survival, death and remembering: Feature by Tila Kellman

Exhibition Listings Summer 2014

Revisiting rebellion with the launch of Queer Looking, Queer Acting Revisited: Feature by Hilary Beaumont

A conversation with John Devlin: Q&A by Eryn Foster

André Lapointe’s natural fakes: Feature by Mike Landry

Somewheres’ uneasy impermanence: Review by leonard paul macpherson

Melanie Colosimo’s Midpoint: Review by Katie Belcher

nichola feldman-kiss’ embedded art: Q&A by Veronica Simmonds

Tamara Huxtable on coming clean: Atlantic Spotlight by Daniel Higham

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Spring 2014

Unearthing Moncton’s most controversial art show: Feature by Mike Landry

The Power Issue: Editorial by Lizzy Hill

Scott Saunders’ Guerilla Galleries: Feature by Kathleen Higgins

True Grit’s power play: Review by Daniel Higham

Mapping social capital in the Canadian art world: Response by Sophia Bartholomew

Rita McKeough’s industrial feast: Review by Hilary Beaumont

Artist Pages: Sarah Burwash

Current Conditions and Forecasts:  Eryn Foster interviews Katie Belcher

Entangled Particles’ haunting poetry: Review by Shannon Webb Campbell

Duane Linklater investigates the nature of language: Profile by Adria Young