Vol 37, No 2 (2015): Critical Perspectives on Canadian Anti-Trafficking Discourse and Policy and Canadian Women Challenge the Constitution
Baddeck Autumn Splendor by Warren Gordon
Since 1973, Warren Gordon has operated Gordon Photographic Limited, a major photographic studio and scenic gallery in downtown Sydney. He is recognized internationally for his portrait, group, industrial, aerial and landscape work.
Warren Gordon's image "Cap Rouge" was named Top Pictorial Image for 2012 by the Professional Photographers of Canada. In June 2012, he was inducted into the prestigious Cape Breton Business Hall of Fame in recognition for the 40 years of success of Gordon Photographic Limited and his contributions to the island's society and culture. Although he is most closely associated with his Cape Breton Island canvas, Mr. Gordon has also received the Chamber of Commerce Award in Business and the Better Business Bureau Ethics in Business Award.
Vol 37, No 1 (2015): Intimacies/Affect and Transgressing Borders/Boundaries: Gendering Space and Place
PEI North Shore Sunset, Acrylic on Canvas, 2013
The cover image is painted by William Montelpare, the inaugural Margaret and Wallace McCain Chair in Human Development and Health at the University of Prince Edward Island.
His current areas of research include: the epidemiology of physical activity-related injuries, return to play criteria, and research on human development from pre-conception through gestation to the first 2,000 days.
His paintings take inspiration from local landscapes and, most recently, the gentle vistas of Prince Edward Island.
Timeless Bonds, Acrylic on Canvas, 1993
Paige Kennedy was a visual artist based in rural Pictou County, Nova Scotia who passed away on August 6th, 2014 due to a terminal illness. During her long artistic career, Paige showed and sold her work in many venues in Halifax and beyond, including the Art Gallery of Nova Scotia, Eye Level Gallery, Mount Saint Vincent University, and the Fraser Cultural Center.
At a young age, Paige discovered art as both an ability and a refuge. As her world view shifted away from the military values of her upbringing toward one of social and ecological justice—where the needs of all life are met—art became a way to express this evolving vision. Paige’s artwork celebrates women’s experiences and the female body in its age imperfections.
Cover Image by Olivia Ashbee
“This photograph was taken on a beautiful October day at Swan Lake Nature Sanctuary in Victoria, BC. A silhouette uses light and shadow to represent space and matter in the language of shape. When I took this photo, I was struck by the beautiful simplicity of the branch and leaf against a blue sky, by the palpable presence of loss and absence – its imperfect geometry – and by the composite resilience of living with and without.”
Olivia Ashbee lives, works, struggles, plays, and chases butterflies in and around Victoria BC, Coast Salish territories. S/he enjoys photography as a means to remember, honour and communicate lessons learned through an ongoing commitment to ally with the non-human living world.
Cover Image: “Love Locks in Paris”
by Dr. Áine M. Humble
“While vacationing in Paris in June 2011, I was intrigued by a custom called ‘Love Locks,’ in which sweethearts affix a lock to a bridge as a sign of their everlasting love for their partner. Many of them write their names on the lock, and the key is either taken with them or thrown into the river, never to be retrieved again. As a feminist family studies scholar researching and teaching about relationship and family diversity, I searched the locks to find evidence of same-sex couples and easily found this lock celebrating Christine's love for her partner.”
Cover Image: "Shebacca". Allyson Mitchell, 2005; fun fur on found shag; 57 x 88 inches.
Cover Image: The Empty Shopping Cart; Butterfly Russell*, 2006.
Explanation of Artwork: To me the empty shopping cart is symbolic. A shopping cart should be full of groceries and have a little kid bouncing up and down in the seat. But for many, every time they look at a grocery cart they feel guilty because they don't have enough money to fill it up with groceries. And the other thing I think when I look at a grocery cart is, "Thank God I'm not the one who's got all my worldly possessions in it." Or I could be wandering up and down back alleys picking up pop bottles. So the shopping cart has a lot of meanings.
*The photographer has chosen a pseudonym to protect her anonymity.
Cover Image: "washing dishes #2". Shlomit Segal, 2003. Digital graphic.
Feminist Knowledge Network Special Issue 1 -- International Feminist Perspectives: Women and Violence
Sucbitoto, El Salvador, May 7th 1986
Drive back from Suchitoto, avoiding the spent mortar cases that litter the road. At a blown bridge stop for a road check and ask to take photos - as it's 'Day of the Soldier' (as opposed to day of the Secretary -Salvadoreans honour certain occupations with special days), the young lads strutting their stuff all seem to be in a good mood and unusually amenable. ©JennyMatthews