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 SDUK 07: TILTING (1)
April 2020
  • 7.1.0
    Cover
  • 7.1.1
    tl;dr part 1

    Editorial
  • 7.1.2
    Conjecture Diagrams

    Sara Graham
  • 7.1.3
    The Year I Stopped Making Art

    Paul Maheke
  • 7.1.4
    W.E.I.R.D.: Uncertainty

    Nicola Privato
  • 7.1.5
    Impotentiality and Resistance

    John Paul Ricco
  • 7.1.6
    Social Distancing in the Time of Social Media

    Christina Battle
  • 7.1.7
    Hold Still

    Kimberly Edgar
  • 7.1.8
    Alternate Forms of Delivery

    Aisha Ali, Atanas Bozdarov, Inbal Newman, Craig Rodmore, and Florence Yee
  • 7.1.9
    Who Is Inside
    (Your Pandemic)

    Amy Fung
  • 7.1.10
    amidst

    d’bi.young anitafrika
  • 7.1.11
    Four Thieves Vinegar

    Sydney Shen
  • 7.1.12
    How to Swim in a Living Room

    Adam Bierling
  • 7.1.13
    A Fever, A Crisis

    Kimberly Edgar
  • 7.1.14
    Lifers

    Noelle Hamlyn
  • 7.1.15
    A Job Guarantee

    D.T. Cochrane
  • 7.1.16
    "Deception is a co-effect which cannot be neglected"

    Ruth Skinner
  • 7.1.17
    Virus and Commons

    Andrea Muehlebach
  • 7.1.18
    Quarantined Connections at the End of the World

    Paul Chartrand
  • 7.1.19
    Distancing

    Alison Bremner
  • 7.1.20
    After the Rains

    Sanchari Sur
  • 7.1.21
    Crisis and Critique

    Eric Cazdyn
  • 7.1.22
    Colophon
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Distancing

  • Alison Bremner
Alison Bremner, Distancing, 2020. Acrylic on paper. Courtesy the artist.



Alison Bremner is believed to be the first Tlingit woman to have carved a totem pole. She has studied under master Tsimshian artists David R. Boxley and David A. Boxley. Her work is included in the permanent collections of the Burke Museum, Seattle; Portland Art Museum, Oregon; Château Musée Boulogne-sur-Mer, France; Frye Art Museum, Seattle; and the British Museum, London, among others.

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