Linda Briskin is a writer and fine art photographer. In her fiction, she is drawn to writing about whimsy, fleeting moments, and the small secrets of interior lives. Her creative nonfiction bends genres, makes quirky connections and highlights social justice themes—quietly. “Silence, Please” (Montréal Serai, 2022), a CNF collage essay, considers noise pollution from personal, political and scientific points of view, and in a variety of styles/genres including lyrical prose and poetry, and humour, and via images. As a Silence Warrior, Briskin is passionate about silence and have been involved in various anti-noise crusades. Her writing has appeared in over twenty journals and anthologies since she switched from scholarly research around 2020.
She is intrigued in hybrid work which incorporates both text and image. Canadian Camera published her photo-essay titled “Liminal Animism: The Masks of Venice.” (2020) and Masque & Spectacle (2022) published “Footprints: Travel Imaginaries Through Photography.” “Footprints” includes fifteen photographs and explores a new way to construct a non-fiction narrative around a photographic series. A Still Life, a fictional exploration of one of her photographs, was published by The Ekphrastic Review (2022).
*As a fine art photographer, Linda Briskin exhibits widely, has had numerous solo exhibitions, and participated in many group shows. She is intrigued by the permeability between the remembered and the imagined, and the ambiguities in what we choose to see. She is inspired by the fluid crossover between the imagined and the real, the natural and the constructed, and the authentic and the fabricated. She embraces the fictive rather than representational, and invents images (often through photo collage).
Her photographs have been published in literary journals and camera magazines: recently, PhotoEd, Humana Obscura, iIanot Review, Masque & Spectacle, Tiny Seed Literary Journal, High Shelf Press, Burningword Literary Journal, Cobalt Review, *82 Review, Flare Journal, Alluvian, and The Hopper.
Her photographs were chosen for the 2021 and 2022 Herstory exhibit sponsored by Manhattan Arts International. In 2021, her image Satellite Dishes in Fez was selected for the International Photography Exhibition at Viewpoint Gallery in Nova Scotia, and Mist on the Rouge for the Carmichael Canadian Landscape Exhibition at the Orillia Museum of Art and History. In 2022, her work was chosen for the Eco-Env-Art at the Museum of Northern History, Kirkland Lake, Ontario. Her images have been included in numerous on line juried shows. Recently in Urban Landscapes Exhibit sponsored by New York Photo Curator (Honourable Mention), Abandoned at Chateau Gallery (Louisville, Kentucky); The Same But Different Exhibition sponsored by New York Center for Photographic Art (Honourable Mention); She at A Smith Gallery of Photographic Arts (Texas); Intimate Landscapes at Collex Art; and Winter Magic (Cultural Center of Cape Cod).
*Linda Briskin, a Professor Emeritus in the Social Science Department and the School of Gender, Sexuality and Women’s Studies at York University, has a long-standing practice as a feminist activist and trade unionist. She has published extensively on women’s organizing and agency. Research interests include worker resistance; equality bargaining; leadership and representation; the impact of austerity on equality; women’s organizing inside trade unions, gendering worker militancies, and feminist pedagogies. Her commitment to social justice has framed her scholarship and inspired her teaching.
