Robert Enright
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Studio Worker
William Basinski, the Los Angeles-based experimental electronic composer will be one of the Guest Composers at the 2017 Winnipeg Symphony Orchestra’s New Music Festival in January. He will perform The Deluge and will participate in the 12 Hour Drone Festival. William Basinski spoke to Border Crossings in November, 2016 for the Borderview section of the magazine. What follows is an extended version of that conversation.
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The Voice of Moving Meditation
“I don’t think utterance was just grunting, but a very nuanced set of sounds. I think music goes deeper than language. That is why I have had the privilege to do my music all over the world, because people don’t have to go through the filter of language to understand the music or respond to it emotionally.” — Meredith Monk
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Breath Taker
From the time her father took her to see the John Carpenter movie The Thing, 1982, when she was nine years old, her imagination has been captivated by films that are most entertaining when they are most anxiety-provoking…
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The Natural Entropy of Things
Stephen Waddell’s book Hunt and Gather, published in 2011 by Steidl in Germany, is descriptive, by title, of his process and intention. It isn’t anthropological in referring to stages in the development of homo sapiens, making our way; it describes instead Waddell’s preference, pursuit and methodology…
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The Portable Robert Frank
Truth is Frank’s nemesis; he admits to a fear of telling it at the same time that he recognizes, “somewhere the fearful truth seems to endure.” —Robert Enright
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The Intimate Idealogue
“It is strange that this image of our proximity, concerning as it does mere phosphate of calcium, should bestow a sense of peace. Yet it does. With you I can imagine a place where to be phosphate of calcium is enough.”
—John Berger
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Gillian Wearing: The Art of Everyday Illumination
Gillian Wearing’s one-person show at the Tanya Bonakdar Gallery in May and June was called “People,” not a surprising choice for an artist who has located human stories at the centre of her practice throughout her career.
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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.
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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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