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C MagazineC Magazine

C Magazine

Spring 2019

C Magazine provides rigorous and thought-provoking coverage of contemporary art practices in Canada and internationally. Publishing culturally engaged essays and reviews by both new and established writers, as well as artists’ projects, C Magazine is widely recognized as an essential platform for critical debate about contemporary art.

C The Visual Arts Foundation
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c mag

EDITORIAL DIRECTOR Kari CwynarEDITOR Jaclyn BruneauPUBLISHER Kate MonroDESIGN Raf RennieEDITORIAL ASSISTANT Kate KolbergPROGRAM MANAGER Keiko HartPUBLISHING INTERN Miranda SzuberwoodSOCIAL MEDIA INTERN Lucas RegazziCOMMUNICATIONS ASSISTANT Elora CrawfordWRITER IN RESIDENCE Chelsea RozanskyADVERTISING SALES Esmé HogeveenCOPY EDITOR Holland GidneyPROOFREADER Jovana JankovicCOLOUR MANAGEMENT Dave HerrPRINTER sonicprint.caC IS PUBLISHED BYC The Visual Arts FoundationBOARD OF DIRECTORSGesta Abols, Christina De Marchi, Karie Liao, Frances Loeffler, Katie Lyle, Michael Prokopow, Evelyn Salvarinas, Fraser Serles, Rebecca Travis, Annie Wong, Vicky WongHONOURARY COUNSELKevin HolbecheAUDITORDavid Burkes C.A.NATIONAL ADVISORY BOARDKen Aucoin, David Birkenshaw, Jim Drobnick, Barbara Fischer, Sylvie Fortin, Joanne Hames, Chris Lee, Robert Mitchell, Amish Morrell, Gabrielle Moser, Magda Gonzalez Mora, Jenifer Papararo, Brian Pel, Francine Périnet, Paul Petro, Carol Weinbaum, Carlos YepEDITORIAL ADVISORYBilly-Ray Belcourt, Alison Cooley, Pamela Edmonds, Steffanie Ling, jes sachse, Erin Silver, Joshua Vettivelu, Fan WuABOUT USPublished…

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graphic design

This issue of C Magazine ushers in a new visual design courtesy of Raf Rennie. Serendipitously, for this issue’s theme, we turn the lens to graphic design. This is a field which tends to be regarded as a prosthesis to art, a facet of commerce, an effect of mass-production—a discipline bound to service and marketing. Initially, the theme was to be titled “Design and Power” but we decided to simply go with “Graphic Design” and bypass the suggestion that design’s relationship to power is a special case, and recognize that it is rather deeply entangled. Because of the ways in which graphic design is often misrecognized, in this issue, we attempt to sidestep some of the anxious discourses of our field, such as: What can design do (to make things…

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“i’m a little too reb ellious for that”: a conversation with joi t. arcand and winona wheeler

While doing research to design a catalogue for Kent Monkman’s exhibition at the Robert Langen Art Gallery in Waterloo, ON, which was to be typeset in Cree and English, I decided I wanted the typefaces to echo some of the themes of Monkman’s work. So, I opted for Cartier, designed by Carl Dair in 1968 and dedicated to the people of Canada on the centenary of Confederation,1 and BJ Cree UNI, designed by Bill Jancewicz in 1994 for the Naskapi Development Corporation.2 I was interested in exploring the common misattribution of Cartier as Canada’s first typeface, when it was actually preceded by a Cree typeface by around 120 years.Joi T. Arcand, National Hotel - Prince Albert, Saskatchewan, 2009, from otē nīkān misiwē askīhk - Here On Future Earth series, archival…

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entangled visions: the birth of a radical pedagogy of design in india

“It is in the emergence of the interstices—the overlap and displacement of domains of difference—that the intersubjective and collective experiences of nationness, community interest, or cultural value are negotiated.” – Homi Bhabha, The Location of Culture (1994)The history of design education in India can be traced to a dialogue between decolonial nationalism and transcultural forces of modernity that began to unfold in the late 19th century. A curious entanglement between the independent legacies of Germany’s Bauhaus and the freedom movement in India planted the seeds for a new pedagogy of design that emerged in 1961, 13 years post-independence, with the establishment in Ahmedabad of the National Institute of Design (NID) as India’s first design school. Founded on the basis of The India Report (1958), a visionary roadmap for Indian design…

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a completely customized world where everything is just how i like and need it: the work of shannon finnegan

Shannon Finnegan, Self Portrait, 2018, digital prints, 35.5 cm × 27.9 cm; installation view from The Invisible Dog Art Center, Brooklyn, New YorkWhat if a typeface, one of the most ubiquitous examples of visual design in the world, could be a voice for “the other”? Reading is almost a passive activity as eyes scan storefronts or a newspaper spread. What if, instead of implying mechanical perfection, the letterforms expressed imperfection? Would our shared consciousness around ability shift? Shannon Finnegan’s work uses typography and hand lettering as an invitation to participate in the thoughts, emotions and everyday experiences of a person with a disability.Self-Portrait (2017) is a collection of drawings in pastel-coloured pencil on letter-size sheets of paper, which, at first glance appear to be flyers on a busy billboard, filling…

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incidental graphics: to design in and through documents

Western Treaty No. 6 - Articles of Treaty No. 6 Concluded Between Her Majesty the Queen and the Plain & Wood Crees and Other Tribes Near Carlton and Near Fort Pitt - IT 2961. Incidental graphics tend not to be designed. They materialize through existing formal conventions to house information that needs to be stored or communicated. They inhabit these conventions so completely as to become, with their world-making originality, undetectable. When removed from their contexts of immediate use (in which they function perfectly and without notice), incidental graphics appear merely as documents.2. (This can be very mundane, or very magical, or both. When I was five or six and first learning how to write, I added “pop-tarts” to a grocery list stuck to our fridge while neither parent was…