Border Crossings Magazine

Bordernotes

Meeka Walsh

Winter is interior, a strangely longed-for time of retreat and withdrawal. Shortened daylight and intense cold drive us in, and inward. We compress or distill our attention and inevitably think back to our past. We...

Borderviews

Light Plain/Plane of Light

When Vancouver-based artist Germaine Koh was short-listed to create a piece of public art for Central Park in downtown Winnipeg, she didn’t know what she was going to do. She delicately describes the location as...

Objects of Care, Objects of Dread

Mia Feuer, who was born in Winnipeg and is now based in Washington, D.C., makes large objects that combine the personal and the political in uncompromising ways. Her sculptures are attempts to build bridges between...

Failing Successes

In 2005, when he was living in Vancouver, Derek Dunlop became obsessed with the Internet images of Lynndie England, an American soldier on duty at Abu Ghraib. The 22-year-old corporal could be seen smiling and...

Thirteen Easy Pieces

Landscape and the Canadian identity are a horse and carriage proposition; you can’t seem to have one without the other. A recent exhibition in the Project Space at Museum of Contemporary Canadian Art in Toronto...

Bordercolumn

The General with the Dragon Tattoo: Corolanius, directed by Ralph Fiennes

Robert Enright

Coriolanus is a play, like the late-night partying rampant in Hamlet's Denmark, that has been more honoured in the breach than in the observance. Its past has been checkered; sporadically produced and seen through radically...

Interviews

Willem de Kooning: Women on the Themes of Painting - Conversations with Cecily Brown, April Gornik, Monica Tap

Robert Enright

In 1953 at his opening at the Sidney Janis Gallery in New York, Willem de Kooning was approached by Jackson Pollock, who was in an especially combative mood. It was de Kooning’s third solo show...

Willem De Kooning: Conversation with Cecily Brown

CECILY BROWN: I was in art school at the Slade around 1989, and I distinctly remember looking at a catalogue of de Kooning’s work with some friends. Our game was to cover up the whole...

Willem de Kooning: Conversation with April Gornik

APRIL GORNIK: I went to the show completely open to it. I was ready to be surprised, and I admired the incredible grace of the black and white paintings from the late ’40s. There were...

Willem De Kooning: Conversation with Monica Tap

MONICA TAP: My first encounter with de Kooning was my being very soundly admonished as an undergraduate for spouting off that he was a misogynist. I was told in no uncertain terms that I knew...

Articles

Radical Cells: Absalon's Machines for Living

Rodney LaTourelle

In the Thomas Bernhard novel, Correction (Alfred A Knopf, 1979), the character Roithamer obsessively plans and builds a home for his beloved sister in the middle of the Kobernausser Forest in Austria. When the structure,...

Time's Banishment: Three Generations of Painting

Gary Michael Dault

It was an occasion of witnessing this stirring, deeply moving exhibition, rather than veiwing it. A vast, resonate display, rich and deep with detail, “Sole of a Shoe” spread its meaning over two continents and...

Art Pages

Mia Feuer

Above images: Mia Feuer, fort mcmurray studies 2012, watercolour and ink on paper, 15 x 10" and 12 x 9". All images courtesy the artist and Conner Contemporary *gogo art projects, Washington, D.C. See also: Borderview on...