Tuesday, December 22, 2020

issue fifteen : guest-edited by David Bradford & Anahita Jamali Rad

edited by House House Press
: David Bradford & Anahita Jamali Rad

see here for
David Bradford & Anahita Jamali Rad’s introduction and biographies

featuring new work by: 

Lindsay Miles
Emma Brown Sanders
Ali Pinkney

Marcela Huerta
Steffanie Ling

Tara McGowan-Ross
Michaela Bridgemohan

Lauren Brown

$5 + postage / + $1 for Canadian orders; + $2 for US; + $6 outside of North America

Canadian/American/International rates (including shipping

Author Biographies:

Lindsay Miles is among the winners of the 2017 Blodwyn Memorial Prize. Her work has appeared in The Capilano Review, Grain, Frond, Poetry is Dead, Bad Nudes and elsewhere. With a Creative Writing MFA from the University of Guelph, Lindsay is the author of the digital chapbook, A Period of Non-Enforcement (The Operating System, 2019). She lives in Toronto.

Emma Brown Sanders is the author of A Fallow Channel (Gauss PDF, 2020) and co-edits the tiny with Gina Myers. Their work has appeared in Asterion Projects, bedfellows, Bone Bouquet, boneless skinless, Full Stop, Fungiculture, Prolit and Tripwire, among others. Their poems have been nominated for Pushcart and Bettering American Poetry prizes. They live in Philadelphia.

Ali Pinkney is a literary writer and graduate student based on Tiohtiá:ke/Montréal. Ali pursues a Master of Arts at Concordia University with a focus on the poetry of Percy Bysshe Shelley. Her novella Roadkill Croque Monsieur will be released in a limited run with Bad Books Press in the near future.

Marcela Huerta is the author of Tropico, a collection of poetry from Metatron Press. Her work has been featured in Peach Mag, Leste, Bad Nudes, Montreal Review of Books, CV2, and more.

During her time as an Assistant Editor at Drawn & Quarterly, she worked on the award-winning graphic novels Fire!! The Zora Neale Hurston Story, Rolling Blackouts, Uncomfortably Happily, and others. In 2018 she performed at the Festival Internacional de Poesía Rosario and was chosen to attend the Pink Door Writers Retreat. She is the daughter of refugees from the 1973 Chilean coup, and her writing centers a second generation Latinx experience.

Steffanie Ling is a producer of criticism, pamphlets, stories, essays, exhibitions, reviews, bluntness, anecdotes, shout outs, wrestling storylines, proposals, applications, jokes, readings, minimal poems, poems, dinner, compliments, and diatribes. She is a guest living on the unceded territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) First Nations. Her books are NASCAR (Blank Cheque, 2016) and CUTS OF THIN MEAT (Spare Room, 2015).

Tara McGowan-Ross is an urban Mi'kmaw multidisciplinary artist. She lives and works in Montreal, where she is the store manager at the Concordia Co-Op Bookstore, a critic of independent and experimental theatre, and the host of Drawn & Quarterly's Indigenous Literatures Bookclub. Her work has appeared in Best Canadian Poetry, PRISM International, Maisonneuve Magazine, and elsewhere. She is the author of Girth and Scorpion Season.

Michaela Bridgemohan is an interdisciplinary artist of Jamaican and Australian descent who grew up in Mohkinstsis, also known as Calgary, located on the traditional territories of Treaty 7 Land. She is currently pursuing her MFA at the University of British Columbia Okanagan. After receiving her BFA (with Distinction) from the Alberta University of the Arts in 2017, Bridgemohan continued her artistic research confronting criticism and concepts of Black biracial subjectivity and the visual ambiguity surrounding those kinds of bodies. Her work has been exhibited across Canada and Australia in gallery exhibitions reflecting various intersections of contemporary Blackness and Feminism. She was also a recipient of the Visual Arts and New Media Grant from the Alberta Foundation for the Arts and has since been involved in numerous artist panels, publications, and engagements.

Writer and new media producer, Lauren Brown, an American woman of Indigenous and Afro-Caribbean descent, uses her journalism background and media production prowess to smudge the line between events and entertainment, creating custom, yet, immersive experiences driven by social technologies. Lauren takes great pleasure in designing and producing gatherings, online and off, with the ability to bring folks together around policy, action and change.

Her past clients and media credits include Coca-Cola Enterprises, Upscale Magazine, Ebony Magazine, The Weather Channel, Georgia Public Broadcasting, NBC BLK, Blogher, The Democratic National Convention, Planned Parenthood, International Society of Africans in Wine (ISAW), MMTC Online, Jack and Jill Politics, The Young Turks, Huffington Post, and Huff Post Live.

Constantly foraging a career that fuses her love of culture, art and media with her passion for activism, Lauren led the Digital Moving Image Salon at Spelman College under the direction of Dr. Ayoka Chenzira, producing two Reel Women Film Festivals, Digital Doyennes: Wisdom from the Women who Lead in Social Media and Digital Innovation and the live social media portions of the National Visionary Leaders Project and the annual ARCUS Foundation Symposium. Continuing her work with Dr. Chenzira, Lauren provided outreach coordination and was Lead Installer for Ayomentary’s new media production, “Ordinary on Any Given Day”, which debuted in Istanbul during the 2011 ISEA Conference.

In 2018 Lauren presented your Lillith is showing as a part of the Feminist Art Collective residency on Toronto Island. Lauren continues to write and muse on afrofuturist themes, neurospeculative feminism and  exploring art as activism, the politics of technology, media, food, agriculture, and their continuous impact on rural and low income women.

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