About Border Crossings
If you love art and you want to be taken to unexpected places, if you want to know about the most challenging contemporary artists and issues, and if you want that knowledge to be shaped by the finest writing and images, then Border Crossings is your magazine.
In our most recent issues—all produced during the time of the pandemic, Border Crossings produced three significant magazines.
In November, “The Matter of Black Lives”, which featured conversations with visual artists Stan Douglas, Tschabalala Self, Esmaa Mohamoud and the distinguished poet, novelist and essayist, Dionne Brand. We also featured essays on the sublime quilts of Rosie Lee Tompkins, and so very much more.
In May, our always much-anticipated Painting Issue, featured a rare interview with the enigmatic German painter, Kai Althoff, and a section devoted to younger artists, which included Barry Schwabsky’s article on the influence of Picasso on an entirely new generation of artists, plus a deep dive into the compelling work of Salman Toor, as well as diverse conversations with painters Amanda Boulos, Shaan Syed and Manuel Mathieu.
The August issue, on “Photography” features an 18-page interview with the legendary Nan Goldin, interviews with Governor-General award-winning Indigenous artist, Lori Blondeau, and with Chuck Samuels about his photography-based, shape-changing performances. This issue also includes portfolios of the exquisite riverbank photographs of William Eakin and the new series of gel transfer photographs by Sandra Brewster. She selected Nina Simone, Toni Morrison, Claudia Jones, Josephine Baker, Frantz Fanon, Minnie Riperton and Jean-Michel Basquiat. The introductory essay for this work is written by poet, Canisia Lubrin, who has also written a six-part poem on Jean-Michel Basquiat that is included in the issue. There is also a beguiling portfolio by young photographer, Hannah Doucet.
All these issues include Meeka Walsh’s unique essay meditations, Robert Enright’s film column, and a new column in the August issue called “Picture Library”, where Barry Schwabsky turns his discriminating eye on the most interesting recently published photobooks. His column opens up a whole new world of pictures.
Each issue also contains Border Crossings’s wide-ranging review section called Crossovers, which does exactly what its name suggests: looks at exhibitions and books from around the world and addresses them in the clear and informed language that has become the hallmark of the magazine.
So, now you know something about Border Crossings.
Nothing in Border Crossings is like anything else, from Meeka Walsh’s condensed essays on language, artists, place and architecture, to the highly regarded interviews that have been a significant part of the magazine from its beginnings 38 years ago. Over that span of time Border Crossings has published three hundred interviews with artists from around the world. This partial list gives an idea of our range: Phyllida Barlow, Rebecca Belmore, Ross Bleckner, Cecily Brown, Marlene Dumas, Robert Frank, Nan Goldin, Charline von Heyl, Chantal Joffe, Sarah Anne Johnson, Brian Jungen, Harmony Korine, David Lynch, Guy Maddin, Kent Monkman, Wangechi Mutu, Shirin Neshat, Yoko Ono, Laura Owens, Neo Rauch, Susan Rothenberg, Carolee Schneemann, Dana Schutz, Richard Serra, Gedi Sibony, Amy Sillman, Gillian Wearing, and Lisa Yuskavage.
Border Crossings is a tri-annual arts magazine published in Winnipeg. Edited by Meeka Walsh, the magazine investigates contemporary art and culture through a mix of articles, reviews, interviews and portfolios of drawings and photographs. Border Crossings occupies a vital place in the geographic centre of the North American continent and looks out from there. “Outstanding” is the word readers, artists, curators and gallerists have come to associate with the magazine.