Open Call for Fall 2024 Issue

We’re eager to hear from writers, artists, and critics to expand and deepen conversations inspired by the artistic vision of emerging and established artists who are pushing the boundaries of art and culture in the Atlantic. For this open call, we are seeking pitches for features, profiles, and exhibition reviews. We prioritize work that pushes...

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Keel William Robinson 2023 Grand piano top 213.4 x 157.5 x 53.3 cm (84 x 62 x 21 in) Image courtesy of the artist Photo by Meghan Tansey Whitton


If the church is a display of God’s glory, Pitchpole is a display of conceptual art’s glory. Poetry by Erin Langille (acting as a psalm), Pitchpole (the hymn), jewellery by Shaya Ishaq (the relic), a sturdy set of speakers (the organ), and Ader (the saint). Does it matter that we don’t know the story of Ader and his ill-fated journey, or the many legends that have surrounded him since? Or is Ader's story simply Robinson’s invitation to work through whatever unfinished grief we hold in the cathedral of the contemporary art gallery?

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Mountains of Wonder and A view of three walls in the gallery with multiple works in view from a distance. Part of the exhibition Tangles of Truth: Kathy Hooper, a Retrospective at the Saint John Arts Centre.

Kathy Hooper’s Mountains of Wonder and Tangles of Truth

Hooper writes, “I walked out of my studio one day and was overwhelmed by the complexity of it all.” This complexity is what she investigates through her drawings, be it the complexity of a landscape, a human being, an idea, or the world at large. This process is further illustrated through the inclusion in the exhibition of many of her rough drafts and sketchbooks. Flipping through these jumbles of drawing and poetry, sketches and snippets of prose, one can imagine Hooper sitting at her desk in her studio, creating on the fly.

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Séamus Gallagher’s Candy-Coated Universe

“What I find inspiring is looking at my many different interests and finding ways of linking them together and creating, like, a mapping of my interests, and threading disparate sources of inspiration, and then creating projects out of those inspirations,” Gallagher says. 

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Installation view of the exhibition Daze Jefferies: stay here stay now stay (2024). Courtesy of The Rooms.

Daze Jefferies’s stay here stay how stay 

Curator Emily Critch notes that the exhibition “presents a visually poetic archipelago of transfeminine and sex worker belonging in Newfoundland and Labrador. Responding to contemporary discourse about trans and sex worker experiences, with hope and histories held by water, an entangled narrative of care, intimacy, and resistance emerges from the coastlines” (2024). Collaboratively, Critch and Jefferies have questioned how we might hold and be held within this archipelago. 

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Lifting As We Rise

Multiple works on gallery walls As We Rise at the Dalhousie University Art Gallery

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Jenn Grant’s Something to Believe In at the Prow Gallery

"Being able to express myself in more than one way has been a gift and something I didn’t really realize I was missing. I think that form of expression and being connected to such a strong local gallery has firmed up my yes’s and no’s. I am more careful with my time. I am seeing how quickly time can pass. Being a mother and demonstrating to my kids what is important to me in a day, what brings me joy, and the power of saying no is a daily practice and certainly something I want to be ingrained in them as well."

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Job: Copy Editor

Visual Arts News magazine is seeking a Copy Editor. We publish two print issues per year, Spring and Fall. Newsstand dates for the current year are March 15 & September 15. Visual Arts News is printed by Rocket Print. Each issue is 48 pages (32 full colour, 16 black/white). Issues include 10 – 12 articles. This is a contract position, to be renewed annually. The fee is $600/issue. The first period of work will begin on or about January 10, 2024.

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Alanna Baird’s artwork infiltrates the New Brunswick vernacular, while also sparking important conversations around marine ecology in this time of climate crisis. As a longtime inhabitant of the small coastal community of St. Andrews, NB, Baird has closely observed the changing shoreline beyond her home. She maintains a dedicated ritual of engagement with the liminal,...

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Since October 2022, The Rooms Provincial Art Gallery has consecutively presented solo exhibitions in their gallery spaces by Mi’kmaq artists from Ktaqmkuk, specifically highlighting the artistic practices of Kelsey Street, Nelson White, and Alex Antle. Weljesi, the most recent exhibition to unfold in the fourth level art gallery, celebrates Mi’kmaw and settler artist Jerry Evans...

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