Deck of cards made for the Toronto Biennial of Art.
A series of pre-recorded talks with Lillian O'Brien Davis, Letticia Cosbert Miller and Tiana Reid reading the art and writing of Lorraine O'Grady across disciplines, followed by an online writing workshop.
In this writing workshop of prerecorded conversations and live "office hours", critics Yaniya Lee and Jessica Lynne use theory, visual art, poetry, literature and music guide them through considerations of art criticism and new expansive ways of seeing.
In this workshop, siblings Zoe Imani Sharpe, Cason Sharpe and Yaniya Lee share the development of their own collective canon.
The fall 2020 issue of Canadian Art magazine, guest-edited by Denise Ryner and Yaniya Lee, surveys the aesthetic practices and legacies of Black art production in Canada and beyond.
Convened by Denise Ryner in collaboration with Yaniya Lee, this free, public symposium re-imagines a 1967 conversation from artscanada magazine about “blackness” in relation to critical art practices today.
Short story to accompany Beth Collar's "The Unforgiven" exhibition at Sundy gallery in London.
"When I was thirty, I went looking for my parents. I lived in the countryside manor of a baron who had taken me as a companion. He travelled frequently and whenever he was gone, my friends from the city would come stay in the house. On one of his trips, he overheard that they were shutting down the orphanage where I had been raised, and he offered to try and track down my birth parents."
Audio essay on black girlhood in response to the Blackwood gallery exhibition "There are no parts" curated by Letticia Cosbert Miller, with my parents Grace Channer and Dzian reflecting on their childhoods.
Short story for Montez Press Interjection Calendar 2022, guest edited by Onyeka Igwe.
"Everybody knows about cephalopods. When the Expansion began into the water to install wind turbines and deep-sea data centres, octopuses—understood to be agile and intelligent—had been brought in to assist with marine development. That was when the rumours began circulating about the octopus rebellions."
"June Clark’s style, like her career, is slow and steady. She is not pressed; she has learned to wait until a work is done."
"Largely self-taught, Gambletron developed their practice organically, through curiosity and community, and they have established a reputation for technical skill and unpredictability."
"In Jamaican-Canadian photographer Jorian Charlton’s portraits, style, pose, and repose become mood."
"Gina Badger's vision of a harmonious society is one centred on restorative justice and creating networks of care"
"When we widen what we understand to be the scope of influence, a different kind of recognition becomes possible"
"A new exhibition and accompanying book of Black contemporary art spotlights different generations of Black creatives and the Black collectors and curators that support them."
"In the lapse of years between when Buseje Bailey was making video and ariella tai is experimenting with the glitch, the urgency and effectiveness of identity politics has shifted."
"We were aware that this special issue would be viewed within the longue durée of Black artists, curators and writers who have worked against their marginalization to establish their own cultural spaces while continuously engaging with this country’s shifting cultural and social imaginaries. "
"I am taken by the beauty of Joyce Wieland’s very gentle, very careful film Hand Tinting, and concerned about the vulnerability of its subjects."
"For Black queer organizers in the 1980s and ’90s, creative labour was as important as activist practice, and vice versa"
"Throughout her career, Adrian Piper has sacrificed greatly to stand for what she believes in. Her art practice has been a lucid and invaluable contribution to an art world she often strives to hold accountable."
"Concerns about intimacy, world-making, security and survival are necessary to considerations of work by Black artists"