SUMMER 2017
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
SUMMER 2016
INSIDE/OUT
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
SPRING 2015
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
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
SUMMER 2014
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
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
