Author: Editor (page 2 of 2)

Come visit us at the Vancouver Art Book Fair



A big THANKS-A-TON to everyone who came out to our launch party last Thursday. We almost sold out of our first run of copies! We have bound some more however, and they are now available at READ Books, the Or Gallery, Publication Studio Vancouver, and Board of Trade Co’s Union Street location.

Our next issue will come out just in time for the Vancouver Art Book Fair, hosted by Project Space in the Vancouver Art Gallery. Come visit us, and a whole host of other phenomenal art publishers October 4 & 5 this fall. Brynn McNab, our editor-in-chief, will be on a panel discussing artist-run publishing in Canada with Jonathan Middleton and Mariane Bourcheix-Laporte on Saturday October 5th, at 1pm. Check out the website for the book fair HERE.


ISSUE SUMMER 2014 teaser


We are coming out with our second issue NEXT WEEK! Come out to Unit/Pitt Projects on Thursday July 31st to pick up a copy!

In this issue, not only do we have a look back at what happened with Vancouver’s art schools’ grad shows this year, we also have some fabulous writing on current shows (that you can still and should go see). A case to prove this point would be Madison Killo’s piece on Kelly Lycan’s “Autobiography for No One”. Read an excerpt of it below:


White (as a material + way of thinking) has frequently been used in Lycan’s work. She has spoken about it as a tool to ‘de-sentimentalize’ objects, reverting them to a status of ubiquity. By ‘de-sentimentalizing’ the objects, they transform into alternate value systems within the gallery space. Some become neutral still-lives, some become objects that provoke the viewer to consider how they see, and some form formal compositions stemming from unclear beginnings.

White makes the objects neutral and invisible, awaiting subjective projections. White also substitutes itself for a beginning – it is the starting place for many art practices, the first layer on a painting. While the title of the show – “Autobiography for No One” – alludes to an end, an actualized finiteness through its inherent narrative nature, white acts as the silencer, creating an open platform to impose possible narratives.


Summer School at ISSUE Magazine with JAIK PUPPYTEETH

July is almost here and so is the second issue of ISSUE Magazine! In addition to reviews of local art happenings, this next issue features commentary on Grad Shows, Critiques, Readings, and the ART SCHOOL EXPERIENCE.

Nothing makes you appreciate the summer more than laughing cruelly at the trials and tribulations of those still entrenched in student-hood.  Especially if you are going back in September.

Have a look at some of the illustrations going into the summer issue, drawn by Jaik Puppyteeth, former art school student and cruel laugher.


Ink on paper by Jaik Puppyteeth




And make sure you stop by Unit/Pitt Projects on July 31st  to pick up a copy of ISSUE Magazine for some light beach reading!

Subscriptions to ISSUE Magazine Now Available!

The wait is over!

You can now subscribe to ISSUE Magazine!

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The first issue of volume 4 of ISSUE is coming out on May 21st. If you can’t make it to our launch, or would like a nicely catalogued collection of ISSUE Magazines at home, or in your institution’s library, you can now subscribe to our delightfully facetious quarterly of local art criticism below. If you order a subscription now, it includes a first-run copy of ISSUE Magazine Issue 1 Volume 4 which will be shipped promptly to your door.

You can also purchase individual issues of ISSUE here, if you are the type to play favourites.

Individual Subscription, 1 year ($20+$10 shipping):

Institutional Subscription, 1 year ($40+$10 shipping):



Don’t Forget About ISSUE! We’re A Quarterly!

Indoor Pool #1 by Derek Coulombe

If you thought we all died from exhaustion just from producing that first issue of ISSUE, you would be wrong! We are already busy working on our summer issue, which launches in July.

To start with, we interviewed Derek Coulombe, a Vancouver visual artist who graduated from Emily Carr University a few years back and has been producing work prolifically from his second bedroom in New Westminster. He recently had a show at Yactac gallery in February entitled SLOW ROOMS, the work from which we talked about at length.

Here is an excerpt from our conversation:

Brynn McNab_I’m interested in the way that you were talking about perspective, I mean the way that all these things are in some kind of perspective, but the tones don’t change at all, so at the same time, it resists perspective.

Derek Coulombe_It definitely resists atmospheric perspective. They play at realism while completely defying it. It’s not a rational realism. It’s almost like it’s a logical realism, but without any practice.
I was interested in flattening perspective itself. Sort of bringing perspective to an endpoint. Because I was thinking of perspective as a construct of scene. And the more I worked with it the flatter it became. Lately I’ve been working on much flatter images. And I feel like that’s where I will start exploring abstraction more directly: still within my idea of architecture. Or interior, but when the perspective is completely flattened through, that’s when something can become completely abstracted.
But it comes through in some areas, for instance in this one, the centrepiece, if you look at it out of context of the other two panels, it reads a lot differently on its own.

B_Did you make those separately, or all together?

D_I made the actual pieces separately, I obviously had a plan for them all to be together. And then I stitched them together in photoshop before I printed it.  I’m interested in working digitally more often.

B_Well with the collaging, you haven’t done any of it digitally, it has all been done by hand?

D_No, that’s all by hand, but I’m interested, with new work, in doing it. I’d like to maintain a handmade or analog process as well – you can see bits and pieces of it, the sort of glue marks – but then with certain details I’d like to bring them in digitally from start to finish. It’s really disorienting to do both.  I think aesthetically it’s disorienting, because it’s another sort of simulacra, another falsehood built into this already sort of pseudo-realist space, and it further dislocates you. I think digital technology is finally reaching a point where it can be aware of itself.  It’s not about pure technological advance anymore, it’s about how that’s been used.

B_It almost has a period quality to it.

D_It’s technology, it’s the one portion of humankind that is advancing at lightspeed, and I think that part of what’s going on, is that digital work can become serious for the first time.
I don’t know, not that I’ll be making purely digital work, but I think as an element or as a part of a process it is interesting. Because I like how these are drawings, they’re collages, they’re photographs in a sense, and they’re prints as well. It’s not “Interdisciplinary”, but it’s certainly this thing, where you’re making a picture, and you’re using a process as a means to an end, rather than as a dialogue.

B_You’re kind of making your own medium out of whatever works, instead of engaging in this long history of purism.

D_Yeah. If I want something, I’ll do something. And there’s a sort of pragmatic quality to working like that. It fills in its own blanks. You don’t have to think too much about the history of the medium. There are histories to all these media, but that’s not what the work is about. It can wander past that pretty easily.

B_So this middle piece, when you visually separate it, it turns into this almost Japanese woodblock print aesthetic.

D_It has this geological, almost tertiary layering to it. Or it becomes more of a cross section than it does a perspective-based image.

B_So are all these interior water scenes what you’ve been working on right now?

D_I’ve been working on an artist book right now, working with virtual materials, virtual materiality. Sampling things like stone, and wood grain and isolating them, and respecting them as pure materials. While they’re not that at all. They are just collections of pixels.

To read more of the interview, keep posted for subscription options, or come out to our launch in July to pick up a copy yourself.  Documentation of Derek Coulombe’s exhibition at Yactac Gallery can be found here.

Last Sneak Peek Before the Launch Tonight!




Come out to 236 East Pender (aka UNIT/PITT Projects) from 8pm – 11pm tonight to check out the launch of ISSUE Magazine.

Will we have it printed in time?? What is going to be inside?! Will we have written a bad review of your outfit?? Will you meet your soulmate?!

WHO KNOWS?! come down to find out.

For now, you should check out one of our feature reviews that will be in the upcoming issue.
It is an analytical a look at this incredible piece of performance art that the City of Vancouver has been funding  for the last 3 years, that you may not have even known you were a part of.


TEASE: New Art and Writing from the First ISSUE

Don’t Be Cruel: Lesson One _____ Maggie Boyd

Excerpt From: Criticism as Blunt Force Trauma _____ Steffanie Ling


I plug into a Google search bar: “after interpretation” because I want to ask the Internet what kind of criticism is theorized after Against Interpretation(1966). “After Interpretation” seems like a reasonable set of keywords. Will my findings reinforce Sontag by further bemoaning the dulling of our sensory faculties? Or will they present a renewed outlook on the role of the critic as anti-interpreter? The first result is a scholarly article entitled The Swerve Around P: Literary Theory after Interpretation by Jeffrey T. Nealon, a professor of English and Philosophy at Penn State University. This text is hosted on Project Muse. Though everything about this initial result screams promising, I opt to scroll further down and see what the breadth of relevant results might be.

Nothing jumps out at me until five results down: The Meaning of Joseph Gordon-Levitt’s Fate in the Dark Knight. This text is hosted on Information for the World’s Business Leaders.[i] I am curious. What forms of criticism manifest in mainstream culture about mainstream films? In Sontag’s essay, she cites film as the medium most resistant to the dubious forces of interpretation.[ii] I feel that this article might amuse me or enhance my research with a colloquial edge. Upon following this link, I encounter Mark. [photo above] This Forbes contributor, Mark Hughes, is a screenwriter who writes “about films, especially superhero films, & Hollywood.” I find the informal simplicity of his bio refreshing. Now with more curiosity than my initial Google search, I wonder if I am embarking on a productive trip away from the house of intellect. My optimism betrays me. Upon encountering Hughes, I confront what Sontag warned of if interpretation successfully possesses, and eventually usurps, its subject with the meanings, content and voices which are fixed upon them.


[i]  Huges, Mark “The Meaning Of Joseph Gordon-Levitt’s Fate In ‘The Dark Knight Rises’ – SPOILERS, UPDATED” Forbes Magazine. 26 July 2012. Accessed 3 Febuary 2013. <>.

[ii] Cinema was a relatively new medium at the time Sontag was writing. Sontag, Susan. “Against Interpretation.” Against Interpretation: And Other Essays. New York: Farrar, Strauss and Giroux, 1966. p.11


The original first issue of ISSUE Magazine

In anticipation of the re-release, check out what ISSUE Magazine was originally like. Here is an excerpt of the first issue of ISSUE magazine, published out of the Helen Pitt Gallery in 1983.


TEASE: Premiere of ISSUE Magazine


as a diagonal glance makes what disuse and scurf want dearly

what disembodied and ablush makes a living removing eyes

for research

for labels and petrology

and proposals to wiretap, pummel and lace

to cherish like delegated, emitted

a body still together, still an “it” and “one” and

you me them her why or when

an exhalation

means precision

this gamble of asperse and blush

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