Articles

Art Fair Carnivalesque

The following conversation between Eric Fischl and Robert Enright was conducted by phone to the artist’s studio in Sag Harbor on August 3, 2016 as research for the Borderview “Painting Paintings” that appeared in the current Painting Issue of the magazine. Border Crossings would like to thank the artist and Skarstedt Gallery in New York for the images accompanying this conversation.
Simmering History
Intuitive Discipline

“I have painted myself in those reflections, so I am taking account of the actuality of the real moment. It is always a layering. I mean, how do you ever get to the real centre of anything? […]”
Certain Things in a Certain Way

I can think of few contemporary artists who have been as successful in developing and employing a repertoire of shapes, forms and motifs as the American painter, Jonathan Lasker. Throughout a rigorous and intense practice now in its fourth decade, he has refined a pictorial language and visual syntax that is uniquely his own.
A Man For All Seasons

John Berger is protean, although the seas in which he has been involved are the watchable and readable and not the watery kind. He has been, at various times throughout a richly productive 60-year-long career, a filmmaker, screenwriter, art critic, essayist, novelist, playwright, poet, actor and drawer. The Seasons in Quincy is a 90-minute-long documentary that sets out to reveal the essence of his complicated being through four simple portraits, each one corresponding to a season.
The Beauty of Being Boxed In

The work of Winnipeg artist Brian Hunter traces a process of ongoing and inventive transformation with the object he is painting, transforming into different subjects. A letterpress box that was used as a display case for trinkets his wife’s grandmother had collected has been changed into a body of paintings that touches on everything from architecture to an engagement with the history of modernist painting.
Figuring Forms

When Arlene Shechet decided to call her current exhibition of porcelain sculpture at The Frick in New York “No Simple Matter,” she was underlining two things about her attitude towards art-making. “I was using matter as both idea and material. The word is commonly used in both ways and I like that slippage,” Shechet says. “The other thing is our culture views porcelain as a simplistic, frilly material and I wanted to have the show address the fact that it is much deeper and more complex than that.”
Painting Paintings

Words freed Eric Fischl to make images. In the process of writing his celebrated memoir, Bad Boy: My Life On and Off the Canvas in 2013, the American painter came to recognize what the art world had become.
What We Talk About When We Talk About Writing About Art

What I responded to in Berger—because the manner of his writing and its meaning or subject were a coherent piece—was his disavowal, his disengagement with power, and here I include using language as an instrument of power…
Mary Heilmann
Peter Aspell
Eugénie Cliche

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