Brixton riots 10 April 1981, England (detail)

Vol 15, No 2 (2020)

Brixton Riots, 10 April 1981, England (detail)


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Vol 14, No 2 (2019)

Palestinian side of the Wall, Bethlehem, Palestine, August 2016. Photo credit: Denijal Jegic


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Vol 15, No 3 & 4 (2020)

Photo credit: Olumide Bamgbelu, Lagos, Nigeria (detail), 20 December 2019; sourced from


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Vol 16, No 1 (2021)

Singapore Book Fair, 2019


Luvungi, Democratic Republic of the Congo, 8 September 2010

Vol 14, No 1 (2019)

Luvungi, Democratic Republic of the Congo, 8 September 2010


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Vol 13, No 4 (2018)

West Indies cricketers arrive in Australia. Image courtesy of State Library of New South Wales Australian Photographic Agency - 09536, FL1721111.


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Vol 14, No 3 & 4 (2019): Maritime Transmodernities

A bathymetric map of the Indian Ocean Region.


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Vol 13, No 3 (2018)

Colonial Singapore


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Vol 15, No 1 (2020)

Cod on a 1932 Newfoundland postage stamp.


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Vol 13, No 2 (2018)

Brendan Behan Poster, July 21st - 16th August 2009, The Pearse Centre, Dublin, Republic of Ireland
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Vol 13, No 1 (2018)

Iraqi woman with v-ink, Basra elections, 31 January 2009


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Vol 12, No 3&4 (2017)

"Flight, Destination: Europe. Accident Sound Bodies" by Guillermo Galindo. documenta 14, Kassel. Photograph courtesy of Cecile Sandten
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Vol 12, No 2 (2017)

The Boab Prison Tree, Derby, Australia
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Vol 12, No 1 (2017)

Theresa Hak Kyung Cha's Dictee; Dictee Takes the Stage. Photograph by Soomi Kim. Eidetic Traces, - 300x200


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Vol 11, No 4 (2016)

Disgrace, Tribeca Film Festival, 2008
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Vol 11, No 3 (2016)

Derelict Art Deco mansion, Hong Kong
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Vol 11, No 2 (2016)

"Cats on Rainy Day" - Pinterest, 2016
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Vol 11, No 1 (2016)

Hands with oil, Uganda.


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Vol 10, No 3 & 4 (2015)

Palm Leaf Manuscript, Sri Lanka, Australian Museum
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Vol 10, No 2 (2015)

Sewing machine with books
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Vol 10, No 1 (2015)

Hanging Amaranthus


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Vol 9, No 3 (2014)

Mumbai's Dharavi slum
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Vol 9, No 2 (2014)

Sculpting in clay, Madsculptor
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Vol 9, No 1 (2014)

Tost and Rohu letterhead. Photograph by Kristin Hannaford, courtesy Australian Museum Archives.
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Vol 9, No 4 (2014)

Front Endpaper/Front Flyleaf, Ulysses, (Hamburg: The Odyssey Press, 1932). The Library of Masud Khan. Photo reproduced with permission of the Hellenic Society of Psychoanalytic Psychotherapy, Athens, Greece.


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Vol 8, No 3 & 4 (2013)

Artist: Obol Andrew Jackson
Title: In bloom
Size: 15*12 inches
Artist statement: A young African myself, from Uganda, I created this flower to express the artistic consciousness of African youths. With roots in a dynamic past we are the seeds of Africa’s future.
A selection of Obol’s work can be viewed at
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Vol 8, No 2 (2013)

Red Shoes by JWT San Juan for Amnesty International, 2008
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Vol 8, No 1 (2013)

Graham Mort, "Ablutions At The Mosque"
Kano, Northern Nigeria" (2009)
3x4, 3.75 megabytes, 2560 x 1920 pixels


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Vol 7, No 4 (2012)

Painting by Carol Archer and Loene Furler from the "Macao-Elsewhere" series of collaborative postcards (mixed media on paper, A5, 2011). The painting also appears on the cover of The Noise of Exchange: Twelve Australian Poets edited by Kit Kelen (Macao: ASM, 2011)
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Vol 7, No 3 (2012)

A Huichol man harvesting corn (approx. 1910)

Photo from The Huichols: Primitive Artists By Robert Mowry Zingg (1938),
Plate XIII, p. 713.
Kind courtesy of Judy Butzine
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Vol 7, No 2 (2012)

Kit Kelen
"failed to square"
20cm x 20 cm, acrylic on board
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Vol 7, No 1 (2012)

"A Legacy of Perception"
Ro~Sa: Robin Assner and Sarah Nitschke
24x36, Inkjet Print, 2011


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Vol 6, No 4 (2011)

Eva Lewarne, "Hope" (2010)
acrylic on canvas 40 x 40 inches
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Vol 6, No 3 (2011)

"Chinatown Women"
Picture Courtesy of the 12th Annual Vancouver Chinatown Festival
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Vol 6, No 2 (2011)

Richard Hanson, freelance photographer, "Regarding War 5: 'Nay Htoo.'" Sheffield (UK), 2008.

Hands and Karen-English dictionary of a refugee from Burma, now living in Sheffield. 'Nay Htoo' is a pseudonym. The image was taken in 2008 as part of a project at Lancaster University entitled 'Regarding War: Image/Text.'
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Vol 6, No 1 (2011)

David Revoy "Tsunami: Pictures for Japan"
Speedpainting, March 2011
2712x1386, size 924 KB


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Vol 5, No 4 (2009)

Unknown Huichol artist, Sierra Madre Mountains, Mexico, 2000. 23 ½ inches square yarn painting attached to plywood frame with beeswax

Huichol Shamans drumming their requests to the gods and goddesses for wisdom as they care for the needs of the villagers. The deer act as the emissaries for this request.

Our thanks to Judy Butzine for her kind permission to use this artwork
Peterson Kamwathi, untitled (Peacebrokers) (charcoal on soft pastel paper; 243.8 cm by 152.4 cm)

Vol 5, No 3 (2009)

Peterson Kamwathi, untitled (Peacebrokers) charcoal on soft pastel paper; 243.8 cm by 152.4 cm

"Peacebrokers" refers to the diplomats and negotiators who mediated between the conflicting political parties in the Kenyan post-election dispute and violence, December 2007-February 2008. A selection of Kamwathi's work can be viewed at the following website:
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Vol 5, No 2 (2009)

Adam Marczukiewicz "Opuncje szmaragdowe" olej/plótno 100 x 70 cm
10 October 1996
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Vol 5, No 1 (2009)

"Talking Drums" Beaded Painting by Jimoh Buraimoh, Oshogbo, Nigeria. 1.07 MB
The Bead Museum Collection, Glendale, Arizona.
Grateful acknowledgement to Judy Butzine (Photographer)


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Vol 4, No 4 (2008)

Kit Kelen, The Pastel Blur of Greed
A4 - ink and watercolour on paper, 2008
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Vol 4, No 3 (2008)

Ann Aldred, Waiting
Created from hologram decal, 1989
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Vol 4, No 2 (2008)

David Grudniski, Gridlock
oil on shaped canvas, 47x32x3 inches

Artist's statement:
"Gridlock" is my reaction to urban landscapes and how inter city people live and function. The centre, congested and primary in colour, generates a topographical grid from which flows the diagonal edges of an urban zone
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Vol 4, No 1 (2008)

Ashley Halpé, Ascetic and Goat
Oil on canvas. 64 cms. X 53 cms. 1961.

Artist statement: "Several of my paintings juxtapose a human figure and an animal. Here the ascetic sits in trance in the classic lotus posture for meditation while the goat, tense with energy and randy-eyed, looks at him askance. The viewer is welcome to supply its thought and a theme. The painting also illustrates my liking for deep tones and jewel-like faceted shapes lit at some points as by an inner glow."


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Vol 3, No 4 (2007)

Ann Aldred, Strings of the Spheres
created in 3-D from hologram decal, 1989
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Vol 3, No 3 (2007)

Joseph Beuys' Irish Energies (reconstruction) 2007 by Sean Lynch; peat briquettes, butter; original made in 1974

On one of his frequent visits to Ireland in 1974, the German artist, Joseph Beuys constructed this, obviously fleeting, piece. Over thirty years later, one of Ireland's leading young artists, Sean Lynch, reconstructed the piece, a gesture that is consistent with Lynch's ongoing, Benjaminian, reclamation of the discarded fragments of the Irish historical landscape. It seems apposite, then, to prefigure this special Irish issue with such a 'dialogic' art work, one that speaks across an art-historical temporal continuum, as well as drawing on the critical heritage of Walter Benjamin, which has nourished so much of the output of Irish postcolonial studies.
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Vol 3, No 2 (2007)

Cover Design by Marcie Whitecotton-Carroll
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Vol 3, No 1 (2007)

Christopher Kelen, View of Macao
Left Handed City Sketch, 22cmx18cm, ink on paper, 2006


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Vol 2, No 4 (2006)

Wesley W. Bates, 2003, wood block 3.5" by 4.5" published in George Elliott Clarke, Québeccité (Kentville, Canada: Gaspereau Press, 2003).

The Quebecois, however defined, are a multiracial, multilingual people, if one respects the multicultural fact of Quebec's history. Even when Quebec was Nouvelle-France, it boasted the presence of at least 5,000 slaves, some African, most Aboriginal peoples, with much intermarriage (and just plain old "shacking up") too. The cover of Québeccité illustrates that "Quebecness" (the meaning of "québeccité") signals a rainbow, not a "pure laine," identity, regardless of the racial feelings of hard nationalists.... Some folks may reject the image of the "Anglo-imperialist" Chateau Frontenac looming in the background, but too bad: it's the most photographed building in Canada; it's a world-recognized symbol of the specialness of Quebec (appearing in even governmental tourist info); and the CP Railway, its builder, was also one of the few somewhat decent employers of African-Canadian men for the first half of the last century. Oh, and I should add, it's a beautiful building.

George Elliott Clarke
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Vol 2, No 3 (2006)

David Neel, Trial of Tears
28 3/4 in by 22 in; serigraph.

Artist Statement
Trial of Tears depicts the precedent-setting legal action of the Gitksan/Wet'suet'en people, and the government of Canada. At a cost of 2.5 million dollars, and taking over three years, this case sought to resolve the long outstanding "land question." This important Canadian ruling laid to waste any hopes of a "reasonable compromise," and is not expected to be the "last word on this case." Amid a growing national awareness of the need to deal with Native issues, this ruling has left the land question and aboriginal rights in the same nebulous state. Leaders throughout Canada have suggested that the decision "reflects a colonial view of society toward aboriginal people," and fails "to redress past injustices and heal historical wounds." Important across Canada, this debate is of particular interest in B.C. where the majority of land does not come under any treaty or legal agreement, a situation unique in North America. After 9,200 exhibits, tens of thousands of pages of trial documents, and at great expense to both parties the land question appears no closer to resolution. The central figure is of Native elder, Mary Johnson upon hearing the outcome of the trial March 8th, 1991. It was initially a front-page photograph of the Vancouver Sun. The tree of life is representative of the territory and the resources that comprise the land question. Coppers are a traditional symbol of wealth; in a dispute a chief may "break a copper," removing a piece and present it to his adversary. There are four broken coppers to represent the legal dispute, and four whole coppers to represent the unresolved land question. The four white ravens depict the ever-changing trickster. These represent the Canadian legal system and this ruling.

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