Border Crossings Magazine

The Gaze and the Guess: Fixing Identity in Étant donnés

Meeka Walsh

When Marcel Duchamp died in 1968, his longtime friend Frank Brookes Hubachek wrote a letter to Anne d’Harnoncourt, former director of the Philadelphia Museum of Art and a Duchamp scholar. Published in the catalogue that...

Collaborating Then and Now: Eldon Garnet & John Abrams

“There I am, John nervously sweating, Teeny sipping her chilled white wine and Marcel lifting a bishop from the board, and the sound of electronic chatter and I am trying to focus in the dark,...

Memory Mixer: E C Woodley

The mind of Toronto-based composer and sound artist E C Woodley is rampant with memory. For seven weeks this spring, that memory materialized inside the Kiever Synagogue as part of the Koffler Gallery Off-Site series....

Rock of Aegis: "The T.A.M.I. Show", directed by Steve Binder

Robert Enright

The T.A.M.I. Show has a peculiar history, the tracing of which necessitates a descent into rock & roll archeology. The film premiered in 33 theatres in LA on November 14, 1964, and was released nationally...

The Gallery of Ingenious Inventions: An Interview with Marcel Dzama

Robert Enright

Cover Story   Let’s talk about the Border Crossings cover. Are the figures recruits from The Foolish Song for Lorica? The polka-dotted characters come from a drawing Picabia did for his 391 magazine. There was this little polka-dotted...

Marcel Barbeau: The Colour of Change

Robert Enright

Marcel Barbeau was interviewed by Robert Enright and Meeka Walsh in Montreal, March 25. Here are some excerpts: Border Crossings: What is it that makes you produce a painting that is about colour and form as...

Who's Afraid of Claude Gauvreau

Ray Ellenwood

Praise for the work of Automatiste playwright and poet, Claude Gauvreau, taken from Ray Ellenwood’s article: Lorraine Pintal, who has been head of the Théâtre du Nouveau Monde in Montreal for a number of years, who...

Mythographies Archaeologies Circuitries: Other Ways of Curating

Jesse McKee

  Curators shouldn’t have to default to the mores of global homogeneity to participate on an international stage. The call for a return to the local signals a re-provincialization of artistic knowledge in a positive manner....

John Kissick

Eldon Garnet & John Abrams

Art Pages Eldon Garnet/John Abrams, "ReUnion," 1968-2010, photograph/oil on panel, each 8 x 6" (mounted together 11 x 14"). Courtesy the artists.

Daniel Spoerri

Mark Clintberg

After being pelted by rain, I found the cloistered foyer of Haus Maria Theresia a true sanctuary: it is an art-deco-inspired church, and the hosting venue for Daniel Spoerri’s reperformance of his 1980 “Un coup...

James D Campbell

Amy Karlinsky

Meira Cook

"Pencils, Ashes, Matches & Dust" by Donigan Cumming

Chester Pelkey

In Donigan Cumming’s new book Pencils, Ashes, Matches & Dust, 2009, which draws its contents from his exhibition “Kincora,” 2008/10, the black-and-white photographic portraits arc into a current of drawings. In the drawings, there is...

Peggy Gale

Robin Laurence

Tracy Valcourt

Van Doesburg and the International Avant-Garde: Constructing a New World

Petra Halkes

Like great minds, great museums sometimes think alike. The Stedelijk Museum De Lakenhal, a small municipal institution in Leiden, The Netherlands, was preparing a major exhibition of the work of Theo van Doesburg (1883–1931), instigator...

Ivan Jurakic

Alexander B D Kauffman

Steve Lyons & Ania Wroblewski

Sheila Heti