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= Anthea Black =

Biography
Anthea Black (b. 1981) is a Canadian artist, writer, cultural worker, and professor based in San Francisco and Toronto. Her practice is made up of works including print, textile, performance, video, publication, drawing, book work, photographs, and composite films. Black has exhibited over the last 15 years (as of 2018) in Canada, The United States, and Europe. She is currently an Assistant Professor of Print Media at California College of the Arts.

Themes of Anthea Black’s work include photography, studio inventions, books, and sound-works by women artists. She also strives to set “a stage for queer collaborative practice and [insert] intimate gestures into public spaces.”

Academia
In 2003, Anthea Black graduated from Alberta College of Art and Design with a BFA in Drawing. In 2015, she was named the ACAD Board of Governors Alumni of Excellence. For a period of time, she was the professor of Printmaking, Publications, and Art & Social Change at the Ontario College of Art and Design. In 2012, she was named the Viola Frey Visiting Artist-Scholar at the California College of Art. Currently, she is the Assistant Professor of Print media at California College of the Arts.

Art & Culture - dedicated to artist-run models for culture
Anthea Black is currently a board member for the IMAGES Festival in Toronto. In the past, she has held multiple positions in Arts & Culture in Calgary, Alberta. She was the Director of Stride Gallery, where she presented more than 150 artists She was also the board President of M:ST Performative Art Festival, Assistant Curator at Illingworth Kerr Gallery at ACAD, and Exhibitions Manager, Art Gallery of Alberta, Canada.

TAG TEAM: Gay Premises
2013, CGLA produced an exhibition entitled: Gay Premises: Radical Voices in the Archives, 1973-1983. This exhibition “examined the history and influence of The Body Politic, a Toronto gay newspaper and the organization that provided the impetus for forming the CGLA. The response by other artists, also shown at CGLA was TAG TEAM: Gay Premises. This intervention included multiple artists, one of which was Anthea Black. There was also an event entitled TORNADO TAG TEAM which responded to both exhibition

TAG TEAM: Gay Premises was a way for people to confront the intersection of the CGLA’s 40-year history  and Canada’s gay liberation history. “As a collaborative, intergenerational, and interdisciplinary project, artists were tagged in for short residencies throughout the exhibition, working off of the material/ideological/textual traces left by previous artist participants and producing interventions, performances, and objects that contribute to a critical exploration of Canada’s gay liberation history, the CLGA, and the way that GLBTQ+ histories are promoted and preserved.” This project was a reference to the artistic concept of The Body Politic.

Anthea Black was the first artist out of four rounds of artists. She launched “a series of stationary that reinstated the letterhead and logos of the Gay Liberation Movement Archive to suggest that the history of queer liberation is ongoing and always in the process of being written, recorded, and documented” Limited edition stationary was given away at the archives and used for correspondence relating to the exhibition, which circulated freely and became part of the archive itself. Black also designed and installed a series of hand printed wallpapers which responded to CLGA’s holdings of original architectural drawings, diagrams of protests, actions and police raids, photographs of banners, and design mockups for early queer press publications” Each month of the exhibition, new wallpapers were revealed.

Objectives
The members of LIDS include Anthea Black, Nicole Burisch, and Wednesday Lupypciw. They “organize performances, publications and interventions that politicize undervalued and underpaid forms of labour within arts communities.” The group refuses capitalist notions that “busy equals successful” and recognizes the importance of “slowness, conversation and crafting.”

DO LESS WITH LESS / DO MORE WITH MORE (2012-13)
One of the most notable works by LIDS is entitled DO LESS WITH LESS / DO MORE WITH MORE (2012-13). This piece is a cross-stitch poster which was published in FUSE Magazine’s last in-print issue in 2013. It was initially released in an earlier version of FUSE Magazine. DO LESS WITH LESS / DO MORE WITH MORE was part of the Morris and Helen Belkin Art Gallery’s exhibition regarding feminism, entitled Beginning with the Seventies: GLUT, the first in a series of four exhibitions regarding social movements in the seventies.

Residency: John Snow House, 2012
The LIDS investigated artist-run centre histories during a month-long residency at John Snow House (JSH) in 2012. The group of feminist artists explored records produced by The New Gallery, which were archived at John Snow House. The residency resulted in an interactive exhibition where visitors were able to participate via contributing their own knowledge to archival images, correspondence, and promotional materials. As a result, the LIDS were able to incorporate feminist practices in the gallery whilst also considering the archive itself.”

In her PhD thesis entitled “Constituting the Archives of Artist-Run Culture: A Self-Conscious Apparatus of History,“ author Johanna Elizabeth Plant references this project as the LIDS, “like other feminist artists and authors before them...enact[ing] a radical form of praxis - bringing the aesthetic and theoretical into the material of everyday life”. Plant references the piece as a protest to neoliberal systems of value. The exhibition offers “a clear example of how the personal is political: the very act of living, of carrying out the work of everyday life while simultaneously creating works of art, is one that should not be discounted because it operates outside of neoliberal systems of value based almost exclusively on monetary exchange.”

Johanna Elizabeth Plant also speaks of how the “...the LIDS residency can be understood as an attempt to draw attention to the work (labour) and the work (artwork) created by women, and to do so by operating from a traditionally feminine space” and “exposes the multiple meanings of ‘work’ by moving these activities from a formerly private sphere (a house) into a (semi-)public one (a house operated as an archive)” In all, “...the residency brings into question assumptions about how artists, and particularly women artists, create works of art, and is a reminder of the highly fluid and somewhat unbounded practice referred to as art”.

Exhibitions
Anthea Black has held numerous exhibitions, one being a performance video by Anthea Black, entitled Queer Survival Campout. The work takes place in a quinzhee, which is a structure made from a large pile of snow hollowed out to make a cave and sometimes used for winter survival and shelter. Queer City Cinema cites the significance of snow in this piece as occupying "an important place in the Prairie, Norther and Canadian imaginations" which "can be a benevolent, insulating, and feminizing part of the landscape, or it can be a hysterical, cruel, and blinding force of nature."

She has also been a key editor for other publications. One of these publications was entitled Craft of Demand: The New Politics of the Handmade, which she co-edited with Nicole Burisch.

Writings
The publications which have features Anthea Black's work include Bordercrossings, No More Potlucks, Carleton University Art Gallery, TRUCK: Contemporary Art in Calgary, FUSE Magazine, and Bloomsbury.

Awards - Research and Creation Grants
Anthea Black has received research and creation grants from multiple institutions including Canada Council, Ontario Arts Council, Toronto Arts Council, Alberta Foundation for the Arts, and The Centre for Craft, Creativity, and Design.