Articles

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  Jen Aitken

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  “The State”

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  Bas Jan Ader

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  Liz Magor

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  Robert Mapplethorpe

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  The Uncertain Certainty: States of the Art of Painting

  David Salle is a New York-based painter whose recent exhibitions include “Debris,” paintings and ceramics from the last five years at Dallas Contemporary until August 23, 2015, “New Paintings” at Skarstedt Chelsea in April through June, and “Making Art Dance: Backdrops and Costumes from the Armitage Foundation,” curated by Jeffrey Deitch at MANA Contemporary in Jersey City from January to March 2015. On now until November 26, 2016 at Skarstedt London is “Cindy Sherman and David Salle: History Portraits and Tapestry Paintings.”

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  The Poetics of History: An Interview with Rebecca Belmore

  One of the central concerns of Fountain, Rebecca Belmore’s performance-based video installation at the Canadian pavilion for the 2005 Venice Biennale, is water. Her recognition of its importance in our practical, political and imaginative lives is complex. “The power of water is something that we understand,” she says in the following interview, conducted the day before the vernissage opening at the Biennale.

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  Leonard Cohen

  The Book of Longing, a collection of poetry and prose Leonard Cohen published in 2006, is about wisdom. Composed by a man who has lived much in the world, and who has come to understand what all that living has been about, it also knows enough to take its wisdom with a grain of salt. While his ability to write remains undiminished, what he writes about has undergone some adjustments.

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  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

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  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? […]”

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  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.

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