Articles

Ways of Looking, Ways of Not Seeing

For our annual painting issue, Border Crossings went to Parsons and three other painters (Shaan Syed in London, UK; Haitian-born Manuel Mathieu in Montreal; and Amanda Boulos in Toronto) to talk about their engagement with this centuries-old storied art form.
Monotypology

For our annual painting issue, Border Crossings went to Parsons and three other painters (Shaan Syed in London, UK; Haitian-born Manuel Mathieu in Montreal; and Amanda Boulos in Toronto) to talk about their engagement with this centuries-old storied art form.
Family Archive

For our annual painting issue, Border Crossings went to Parsons and three other painters (Shaan Syed in London, UK; Haitian-born Manuel Mathieu in Montreal; and Amanda Boulos in Toronto) to talk about their engagement with this centuries-old storied art form.
Telling Details: The Painted Life of Salman Toor

We know well that certain subjectivities have been privileged over others throughout history; painting proves no exception. The works of 37-year-old New York painter Salman Toor grapple with that history by manifesting a hitherto underrepresented subjectivity.
Kai Althoff goes with Bernard Leach

Althoff shows himself in conjunction with what is in itself a significant show of 50 ceramics by Bernard Leach (1887–1979)— mostly pots, jugs and tiles but also two drawings, several buttons and a necklace. All in all, then, as unpredictable as you would come to expect.
Vivian Suter

Vivian Suter’s entangled approach to painting is powerfully materialized at the Brücke-Museum in Berlin where the artist’s free-form hanging style creates enchanting connections among her work, selected pieces from the museum’s collection and the museum’s own architecture.
Hunky Dory

“Time may change me, but I can’t trace time,” David Bowie sings in “Changes,” a song from his fourth studio album, Hunky Dory—an album that provided the inspiration for a recent collaborative show by the Winnipeg-based artists and lifelong friends Jen Funk and Alexis L. Grisé.
“Sovereign Intimacies”

“Sovereign Intimacies,” installed in Plug In ICA in partnership with the University of Winnipeg’s Gallery 1C03, lays out its curatorial premise in the title. “Intimacy” refers to the method invoked to create the art in the exhibition, all of which was made collaboratively.
Couzyn van Heuvelen

Visiting SBC Gallery in Montreal on a desolate afternoon during the second wave of COVID-19 outbreaks—my own breath warming the air between my face and mask—I meet van Heuvelen’s hovering pod, part of his playful travelling exhibition, “ᐃᕐᑭᐊᒻᒥᒐᕐᒃ | BAIT | APPÂT.”
Sarah Anne Johnson

It is a social and cultural idea, one of our most beautiful and hopeful, on one hand, and also sometimes hackneyed, on the other. “Woodland,”Sarah Anne Johnson’s first solo show at the Yossi Milo Gallery in Chelsea, Manhattan, takes on the challenge of this theme, unapologetically.
Catherine Carmichael

Encountering Catherine Thornley Carmichael’s work is like slipping into a chair just after she’s vacated it, leaving behind the warm echo of her body. The works in this exhibition, going back into the ’80s, are as warm-blooded as you can get.
Anna Torma

The textile work I’m referring to is Permanent Danger, 2017, displayed like a scroll and centrally installed on an opening between the galleries. Both sides of the piece form picture planes through a technique known as double-sided embroidery.

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